When we saw the announcement for this epic show, we could hardly believe our eyes, or stop squealing!

A MINDBLOWING line-up of award winning superstars - all absolute masters of their craft, and each with a unique personality and style. Every single one of them is an Exotic World / Burlesque Hall of Fame winner, and all of them made it into our Burlesque Top 50 2009 - as voted exclusively by YOU!

And who else could possibly host such an evening but the legendary Murray Hill? New York is truly blessed tonight…

We spoke to co-producer Angie Pontani about the conception of this fabulous show. Angie won the MEW crown in 2008, and will also be performing tonight…

Co-Producer Angie Pontani (Miss Exotic World 2008)

When did the concept for this show come together - has this been in the pipeline for some time, or is it a more recent development?

Murray and I thought up the concept last summer while sharing a dressing room at our show, This is Burlesque.  We spent a lot of time together and brainstormed a lot of things.

I think some of the best ideas to come out of our dressing room were ‘Spanx for men’, ‘Ginger Candy eating competitions’, ‘burlesque bikram yoga’, and this show of course!

We heard that several starlets were going to be in town this March and we pushed to secure this date as a launching point for the concept. The stars aligned and we went for it slightly ahead of our original schedule.

You must be beyond thrilled to have such a mindblowing line-up! What is it about these performers (besides your fabulous self!) that excites and impresses you personally?

Well aside from the fact that most of the cast are Miss Exotic World winners, most of us are part of the original team that can be credited with helping to pioneer the revival.  It’s been a long road, so that says a lot.  Additionally, I think everyone on the line up brings an exceptional amount of fabulousness, talent and power to the bill. I just wish I could sit in the audience for it.

Do you have a particular structure in mind for this show, or an aesthetic theme? Will we see our favourite, iconic acts from each of you, or can we expect something new or unique to this show?

Absolutely,  as the show grows, we will develop it further. In the future, the show will feature each performers winning iconic act as well as another piece that highlights their finest skills, we might even have a group number!  Can you imagine 7 - 10  Queens of Burlesque all on stage at once…? You wont have to imagine later this year!  It will happen.

Can you tell us anything about your planned performance?

Not specifically, because I can not decide what to do.  It will be an eleventh hour call for me, but I’ve been eating my greens, getting eight hours of sleep a night and hitting the gym every day in preparation!

Can we expect another show of this kind from you, or is this a once-in-a-lifetime spectacular that really cannot be missed? Are there future shows you have planned that you can tell us about?

Yes, absolutely. We are working on a touring version of this show, so those who can’t make it to NYC, fear not - we will come to you later in the year. It won’t be the exact same show as we are doing tonight, but it will be chock full of Queens!

We also spoke to the rest of the mindblowing line-up of stars, to hear their thoughts leading up to the show tonight…

©Karl Giant

Dirty Martini

Miss Exotic World 2004

“There are so many wonderful burlesque performers in the world right now sprinkling glitter and rhinestones on the planet, but some of my favorites have converged in one place on one stage and will have truckloads of fancy in tow! This show has been a dream for Murray and me for some time. We’ve been talking to Immodesty and to the Burlesque Hall of Fame to get a Miss Exotic World tour going and this is the first step and the first draft. I’m really excited that it’s happening in a place that is notorious for burlesque, where burlesque never really died - NYC!”

You voted Dirty NO.1 in your Burlesque Top 50 2009!

©Sean McCall

Catherine D’Lish

Miss Exotic World 1992 and 1994

“I am really looking forward to this show, and was happy to have been invited. It will be great to see some of my burlesque-gal-pals again, but between you and me, I am only going with the hopes that I can score some quality time alone in a dark corner with Murray Hill. He drives me wild, that silver-tounged devil!”

You voted Catherine No.4 in your Top 50 Burlesque Performers 2009…

 

 

©LA Burlesque

Indigo Blue

Three-time Miss Exotic World Award Winner

“It’s exciting to perform with some of my dearest friends all in one place at the Queens of Burlesque show. I’m thrilled to be part of the hottest lineup this side of the International Date Line. And, of course, the show is celebrating Immodesty Blaize’s new film ‘Burlesque Undressed’ - a fabulous addition to the growing cannon of contemporary Burlesque documentary films.”

You voted Indigo into your Top 50 Burlesque Performers 2009…

 

 

©Immodesty Blaize

Immodesty Blaize

Miss Exotic World 2007

“There are few things that would drag me away from the Caribbean and catching up with the Queens in New York City is one of them. I last worked with Angie and Murray together in the Big Apple seven years ago, so I am looking forward to revisiting all these years later.”

You voted Immodesty No.6 in your Top 50 Burlesque Performers 2009…

 

 

 

 

©Pez Photo

Michelle L’amour

Miss Exotic World 2005

“I am so thrilled to be a part of this line up! I hope I get to see some of the show from the wings!”

You voted Michelle No. 3 in your Top 50 Burlesque Performers 2009…

 

 

 

 

 

©LA Burlesque

Perle Noire

MEW Best Debut, New Orleans  Queen of Burlesque

“I never imagined that one dance could change my life completely. I danced at MEW and the next thing I knew the one and only Immodesty Blaize invited me to perform in her annual Tease Show. That is like winning an award in itself. Then the unthinkable happened, she told me she was going to feature me in her movie Burlesque Undressed. I still can’t believe it. Now I’m going to perform in NYC, (the place I wanted to live my entire life) with the top burlesque queens on the planet! I’m beyond grateful, humbled and completely nervous. I’m so honored to grace the stage with all of these legendary Queens. I’m floating on air. I love the stage - it is the only thing that never let me down…”

You voted Perle NO.17 in your Top 50 Burlesque Performers 2009…

©Don Spiro

Julie Atlas Muz

Miss Exotic World 2006

Julie has just returned from the Burlesque Ball in Australia, in which she headlined in spectacular style!

You voted Julie No.11 in your Top 50 Burlesque Performers 2009…

Thursday, 11 March 2010
Doors: 6.30  SHOW 19:30 - 23:00

Le Poisson Rouge,
158 Bleecker St.
New York, NY

Admission includes after party from 9-11pm in Gallery Bar. $25 Gen Admission,

VIP TICKETS (SOLD-OUT)

Buy tickets here… ( for $5 off, use code: BRLYQ)

]]> http://www.pinup.me.uk/the-queens-of-burlesque/feed/ http://www.pinup.me.uk/bvb-how-to-make-a-fan-dance-your-own/ http://www.pinup.me.uk/bvb-how-to-make-a-fan-dance-your-own/#comments Tue, 23 Feb 2010 17:59:44 +0000 Beatrix von Bourbon http://www.pinup.me.uk/?p=6088  

Many performers find that during their burlesque career, they are specifically asked to perform a fan dance. With the proliferation of fan dances on the circuit, it’s common to feel a pressure to make such an act your own by adding your own mark to it. But as often happens, one runs the risk of letting the ‘twist’ upset the balance of the full act.

I’ve seen many acts that, regardless of the technical ability of the performer, fall down owing to a lack of characterisation, repetition of the same fan moves and/or a dependence upon the fans to hold the audience’s attention.

There seem to be four main approaches to the fan dance: Sally Rand tribute, comedy fan dance, striptease plus fan work and finally, one of the former structures with the added dimension of customised fans (i.e. not your average one-colour ostrich feather fans). Throughout the course of this article, I will outline each style with tips for successfully executing an act in this manner, plus a brief tip-off on the usual pitfalls.

The Sally Rand tribute…

Description: The performer dances nude, save for pasties and panties/merkin. The performer reveals his/her body from behind the fans around 2/3 of the way in to the act. Examples: Michelle L’Amour, Cherry Shakewell, Millie Dollar, Cherry Loco.

The emphasis of the Sally Rand tribute is upon the dancer’s movement and the beauty of the fans. It is, therefore, important to invest in a high-quality pair of feather fans; made from either long, plump ostrich plumes, or voluptuous, floaty ostrich boa. Balding fans will distract from the atmosphere of the act, making it look less professional and less polished.

Michelle L'amour in her iconic Sally Rand Tribute (©Don Spiro)

Pacing is very important as one’s movement alone must captivate the audience throughout the duration of the performance. Tight choreography may be beneficial. Movement includes everything from your footwork and posture through to the shapes you create with your fans.

Think of your fanwork as an extension of your bodily movements. Big fan shapes add points of emphasis and small poignant movements (such as rippling shimmys flowing through the feather fronds) can create moments of tension or suspense.

When using your fans it’s useful to think about your use of vertical levels as well as the horizontal.

Besides moving on your feet across the stage, think about including lower-level floor-work and higher-level work with the fans above your head. Use all the space you can.

The reveal is a dramatic turning point within the Sally Rand tribute style. After the reveal has been made, the movements a performer can execute are limitless.

Feeling put under pressure to hold the audience’s attention with limited ‘non-revealing’ movements, it’s a common faux pas for the performer to make the reveal too quickly…

Jo Boobs reminds us:

“Save, save, save your reveal. The one mistake I think some newbies make is that [they worry that' the audience gets impatient if they don't see pasties quick enough. But the audience has seen tons of boobs and they're as interested in the journey as they are in the destination.”

(Taken from MOB forum thread)

The soundtrack for such an act is also important. Your soundtrack and movement must compliment one another. You may choose a beautiful instrumental track to accompany a beautiful, graceful dance, or you may choose a more metaphoric route, for example, enacting lyrical content with your dancing. The options extend far beyond these two examples, of course, but a rapport between sound and movement is important.

The comedy fan dance...

Description: The glamour of feather fans is parodied by giving the fans an entirely new character. Often they become bird wings or their glamourous connotations are sent up via a juxtaposition against an awkward performance-style/soundtrack. Examples: Little Brooklyn (pigeon character), Nasty Canasta (car alarm soundtrack), Luke Bear (male fan dance), Vendetta Vain (canary character).

This is perhaps one of the more difficult fan dance styles to master, as parody is a very subtle ingredient.

Consider why you believe your act is funny – what is it about the performance that will rouse the audience into fits of giggles? Is it that your character is arrogantly performing a shoddy act (i.e. egotistically performing a Sally Rand fan dance with cheap costuming and weak movement)? Is your character the the complete opposite of glamour, and the juxtaposition between your character and the fans is the point of laughter?

When you have grasped the comedic core for your act, you can structure your performance around it. This about your costuming very carefully and how this affects your character. You may communicate emotions such as vanity and frustration with facial expressions and body language. Consider the punctuation points within your act; will it be clear from the start that your act is a parody of the burlesque fan dance, or will this be revealed during the course of the act? How do your punctuation points affect the pacing of the act?

When the comedy reveal has been made (whether from the very start or otherwise), comedy acts tend to require a steady stream of character-based developments. I've seen many acts in which the performer opens with a strong, funny moment, but then the rest of the act feels like it's tagged on behind it. This feeling seems to arise, if the performer neglects to play out the possibilities opened up by the comedy reveal and, instead, goes on to focus upon other elements within their performance. As I state above, the comedic 'core' ought to be in mind throughout the act.

The glamourous addition to a striptease routine...

Description: The performer strips down to their underwear and then picks up their fans to dance. The performer's bra tends to be removed during the fan dance section of the performance, finishing the act with a full reveal. As a variation the performer may use fans throughout a fully layered striptease, or may open an act with a clothed fan-dance and then go on to perform a striptease without any fan work. Examples: Diva Hollywood (Starlight), Missy Malone (I Put a Spell On You), Amber Ray, Roxy Velvet.

When incorporating a fan dance into a bigger act, I believe it is important to have in mind exactly why you have chosen to bring fans in to the act. If you include a fan dance section without its purpose in mind, you run the risk of the fan dance section looking as though it has been added in to the act for the sake of including some obligatory fan work. Is the fan dance section the crescendo of the act, or has it been included to emphasise and compliment another aspect of the act? Are you using fans to bring a feeling of Golden Age burlesque to your piece, or are you using them to illustrate an aspect of your characterisation?

When the purpose of your fan dance has been established, think carefully about how to ensure the fan dance section balances comfortably against the rest of the act. Think about where within the (presumably) linear structure of your act the fan dance will sit best. If it's the highlight of your act, it may be best saved until last, but if it's used to create atmosphere or character, it may be better suited to an earlier point in the act (unless, of course, you're creating a 'transition' piece in which your character becomes a fan dancer).

This style of fan dance doesn't require a great level of technical flair with regards to the dance aspect of the fan dance, but it does require that the act's choreographer has a clear vision for the piece and that she/he understands how to structure an engaging performance.

Stylised Fans...

Description: This take on the fan dance sees one of the above approaches coupled with a unique pair of fans. This may vary from stylising the standard feather fan in different colours or plumes - Miss Diamond Blush (rainbow colours ), Amelie Soleil (fire shades) alternative feathers (eg. peacock), through to replacing feather fans with fans made of or representing something other than feathers – Chrys Columbine (shells), Vicky Butterfly (rose petals), Missy Macabre (office fans).

Chrys Columbine (©GMK)

If opting for this addition to your fan dance, it is vital not to rely upon the gimmicky nature of your fans to provide substance to carry your act. Whilst they may well delight a burlesque audience tired of seeing feather fans, one must also remember that there may be many audience members unfamiliar with the tradition of the fan dance.

Whilst your act offers a nod to the traditional, it must also stand alone, away from that reference point. If it fails to do this, it runs the risk of alienating members of the audience who won’t ‘get it’.

I’ve seen performers who have clearly had a novel idea for feather fan substitutes and have built an act around their concept. Often this is in an ‘addition to a striptease’ routine, in which there’s a set-up to the fans being introduced, a short fan dance, and then a pasties reveal. The inherent risk here, is that the set-up to the introduction of the fans prepares the audience for the material or style of the fans, but does not pre-empt a dance with fans made of this material or in this style.

Think about why your character is dancing with these fans and communicate this clearly to your audience. Failure to do so will make you act appear to be a weak support for a gimmicky idea, lacking in substance.

Of course, this article is not intended as a one-stop summary of how to fan dance. There are many more subtle twists and stylisations out there beyond those I have outlined above. Indeed, this article may even have provided inspiration for subvertion. But if I could propose one tip that I feel proves useful to any style of fan dancing I would state:

The fans are not a stationary prop or a piece of the set – they move with you, they are an extension of your own body. Don’t ever loose track of why you have chosen to extend your body rather than perform with a stationary prop…

Click here for more Beatrix…

(Image of Beatrix ©2008 Cherry Bomb Rock Photography)

©Karl Giant

I am proud to present a brand new interview with the Number One Burlesque Performer of 2009 - as voted by thousands of you in our end-of-year countdown! I have so enjoyed the opportunity to get to know even more about Dirty, and explore her past, present and future in more depth.

Bold, brave, beautiful, graceful, intelligent, outspoken, gracious, generous and joyous. An artiste, a muse, a model, a teacher. A force of nature. An entertainer.

Your official number one…

You - Dirty Martini - are universally recognised as an icon! Do you recognise yourself as such, or is it something you aren’t really conscious of?

I am thrilled to be recognized and treated so well in all of the cities I’ve performed in. I consider it a miracle for something so wonderful to happen to me at all because I wouldn’t give up on my love of dance and my dream to be a showgirl.

You have to be one of the most self-confident women I have ever met - it glows from every Dirty pore! Where does this incredible self-confidence come from; why is it there, and does it ever desert you?

Of course everyone has moments of self doubt and sadness. It is important to remember that we create our own reality - after soul searching I realized that I didn’t want my reality to be one of self hatred and I didn’t want that for any women anymore. Lets banish it! Forever! Oh, and men hate that women don’t enjoy their bodies, so if not for yourself then maybe for them?

How do you think one cultivates such an instantly recogniseable image and iconic performances? I know there will be so many who come to read this interview that will desire this above all else - to create a persona and a reportoire that is truly iconic…

I think that above all it’s very important to be willing to experiment and fail. Some readers may not be the best burlesque performers, but that doesn’t matter in the least. Burlesque may bring them to something else that they excel in and then the dominoes will all fall into place. When you get there, you’ll smack yourself in the head and wonder why you didn’t do it years ago. When ladies email me and ask advice, the first thing that I tell them is to just get in there and do it. Maybe it won’t make sense and maybe it will, but the trick is to know when you have a great original idea and run with it.

This brings me to the word original. This is key. Everyone in the world is so different and burlesque has room for everyone. Performers must do their research and know that copying someone else is the cardinal sin of burlesque. Sure fan dances are for everyone, but there are tricks and twists that smart performers do to make it their own and it’s so much more interesting. For instance, Nasty Canasta’s fan dance that is solely performed to a car alarm thereby parodying New York Burlesque. She’s brilliant. So performers should always strive to find their original voice and search for music that not everyone uses. Become a little nude detective!

Dirty as a young dancer... ( ©Dirty Martini Please do not use this image without permission)

At the risk of sounding like a psychiatrist, can you give us some insight into your early life and childhood, before the birth of the icon you are now? Were you raised in an environment that embraced the individual and the expression of the body, for instance?

I was fortunate to be born into an artistically minded family. My mother was an opera singer and visual artist and my father a band director. Although they encouraged my dance training and career, I’m sure that they weren’t thrilled with my will to become a performing artist. My mother is an independent thinker and certainly a feminist and avid reader. She encouraged my penchant for risk taking, but isn’t what you would call body positive. I suppose the flip side of that is what helped me to realize the need for women to feel comfortable in their bodies and with their sexuality. Certainly no one in my family had this going for them.

As a young dancer, I wasn’t getting any encouragement there either. Most of my teachers considered my body size and shape to be a problem and obstacle to overcome. I knew that they were right, but I still thought I looked fine for the normal world which seemed completely acceptable. Somewhat like a person who loves to play baseball but knows they won’t ever have what it takes to be in the big leagues, I plugged along loving ballet and figuring that I’d be a choreographer or find a way to dance in another way. The fact is that I managed to channel all of my dance training from my teens into college into a new dance form based on the nostalgic glamour of old burlesque. I think as a result, I’m probably one of the only dancers from my graduating class at Purchase College that is still working as a dancer and continuing my college thesis. Imagine that!

Dirty as a young dancer... ( ©Dirty Martini Please do not use this image without permission)

I know you became a dancer at an early age, and you have expressed a need to dance; that you ‘had to dance’. But why the move into burlesque - as a burlesque dancer? Was it just because it was, as you saw it at the time, a lost form or genre - something less obvious/popular to ‘make your own’? Or did it feel more like a destiny - somewhere you were supposed to get to…?

Why burlesque?

When I was working with a few collaborative theater and dance companies, I was looking for something to do solo that made some sense to me. It was a toss up between romantic ballet - a favorite genre for me - and classic burlesque. Both are glamourous, challenging and involve a drag esthetic, but I felt that burlesque embodied a more current idea of a sort of socialist body image idea. All body types were welcome and accepted in the old burlesque. Some of our surviving burlesque legends would tell you that they had to diet and stay trim, but the fact is that there were many variations in body type then and now there is a very narrow range for acceptability. It’s not that there was a higher consciousness then, nudity was the important factor.

I did see the ability to translate my dance training into a way that audiences could understand and appreciate my body by putting my curves in context through the 1950’s look. Since then, burlesque has grown into both a venue for discussing these issues and also a more commercial idea of retro culture. I think that both are valid and different and important as a venue for discourse.

You also have early roots in theatre; indeed, I believe you fashioned a burlesque fan dance while in a theatre company in 1997. What part does theatre play in your life now; do you intentionally choreograph/put together a burlesque routine with the intention of incorporating theatre?

Burlesque is a form of theater. It may be for a low ticket price or in a bar, but burlesque at its best should be challenging and transformative. I approach my burlesque routines the same way that a choreographer or writer would sketch out a part of a play. Some of my routines have a story and intention to communicate complicated ideas. Other more classic numbers are just sheer expression of love glamour and sensuality.

An early performance... ( ©Dirty Martini Please do not use this image without permission)

You must have some stories to tell from your time on tour with these theatre companies…

It’s been pretty incredible to organize that much costuming and makeup for a long tour in a place with no glamour resources. We’ve had some crazy times on the road for sure. It’s behind a bar in Barcelona that my name was born. Everyone in the cast was being very polite to order the specialty - Sangria - at this old bar in the gothic district, but my friend chris jumped behind the bar to make himself a ‘Dirty Martini’ when the bar staff didn’t know what that was.

You have even appeared in an off-broadway production - is this type of performance something you still have time to do, or is it something you wish you currently did more of?

I worked so heavily in collaborative theater and dance groups early on that it was important for me to define myself through solo work. Now ironically through my solo work, I am able to perform with incredible theater artists who know me through nightclubs and burlesque in wonderful theater pieces. I’ve worked with Taylor Mac in Red Tide Blooming, Julie Atlas Muz in several of her evening length works, Penny Arcade in Bad Reputation and New York Values as well as more burlesque oriented performances such as Anti-Gravity’s Broadway Bares performance and with Tweed Theater along side artists such as Rufus Wainwright, Jackie Hoffman and commedian Caroline Rhea. The latter was so befuddled at the presence of a barely clad lady named Dirty Martini getting such an audience reaction that she had to practically unscrew her face, shake it out and put it back on before going onstage.

“Of course everyone has moments of self doubt and sadness. It is important to remember that we create our own reality - after soul searching I realized that I didn’t want my reality to be one of self hatred and I didn’t want that for any women anymore. Lets banish it! Forever!”

Can you describe the experience of performing in Carnegie Hall? How did that opportunity arise?

Haha! I got into Carnegie Hall through the back door! I’m glad you didn’t pose the question ‘how did I get to Carnegie Hall’, that answer is obvious - the NR to 57th street!

I have a wonderful sexagenarian friend named Martin DiMartino who when diagnosed with a degenerative illness decided to make his two big dreams come true before he lost all of his dexterity. One was to Climb Kilamanjaro and another was to play piano at Carnegie Hall. He did both and in fact performed annually at Carnegie Hall on his birthday for 10 years. A few of those years he asked me to perform in the show and I was so happy to have that memory. I’m thrilled to say that Martin is much better today. He’s in great shape and moves better than the day he was diagnosed and that is the kind of spirit that inspires me to love myself and everything I was born with all the more. Incidentally, as far as I know, Tempest Storm and I are the only two teasers to perform at Carnegie Hall. I’m sure her show was a little grander, but who’s counting!

You seem willing and eager to experience and partake in as many art forms and performance genres as possible. Is it just feeding a need to perform, to create in any way possible? As with dance - is there a need in you?

In New York City we are lucky to be in a very creative environment. There are so many artists here that I respect in burlesque and in other genres, so when the opportunity arises to work in another form I grab it while I can. At the moment, Taylor Mac is mounting a 5 hour theater piece called The Lily’s Revenge. There are a few burlesque performers involved like World Famous *Bob*, Tigger and Darlinda who is stunning as the bride. I was sad that I didn’t have time in my schedule for this show, but contributed to the film that will be a part of the evening along with Julie Atlas Muz and Mat Fraser. I love to work with shows that challenge me and see fellow performers work in new ways. Theater is very inspiring. So full of infinite posibilites…

©TalFoto

What is your response to the question: ‘Why perform?’ Some of the answers your contemporaries give just fascinate me - and they tend to prioritise the art and the audience. But you do talk a lot about self-esteem and body image - is it wrong in your eyes to use performance as a vehicle for self-confidence?

A performer’s first priority is their audience. Giving a good show has to be the goal. Everyone is on a journey and a by product of performing burlesque is becoming more comfortable in your body. In my experience, the women who are more socially acceptable in their looks have a harder time accepting themselves. They simply haven’t had to face the opposition of society and overcome it. Why perform? Because you have to. It has nothing to do with money, making people happy or any lofty values. Performers must do it. It burns in their veins. To be quite frank, if you want to be famous, don’t do burlesque. Become a pop singer or an actor. People love that crap and you can make millions.

In our interview last year, you said that burlesque was considered a fad in the US, rather than an art form. Do you think this is still true, more than a year on?

I sincerely hope that burlesque remains a viable form for people to work in. It certainly has come and gone and come back again, especially in New York. I did just see a Monty Python sketch where Terry Jones performed a strip out of a tuxedo into tassels on a bra and panties while lecturing on socio-economics to Black and Tan Fantasy. I’m sure that influenced me in some way when I saw that as a young lady. What I’m trying to say is that burlesque may have recessed into the background for a bit, but it hasn’t gone away.

We are currently in the midst of a ’stripping for your husband 101′ craze with all the bachelorette parties and weekly venues because burlesque is accessible as a form. It’s art for the masses and very appealing to people in that capacity. When I started noticing that covers of mainstream magazines had famous actresses posing in 50’s bathing suits in cheesecake poses and that movie about Bettie Page came out to mainstream audiences, that’s when I felt that the wave is almost over. Then, again, I thought it was almost over when Moulin Rouge came out so I guess we wait and see and hope that it remains appealing to the public.

When discussing the appeal of burlesque, you cited one reason for its resurging popularity as ’sexual oppression’. Do you really consider society to be sexually oppressed - or were you thinking specifically of the USA when you said that?

I think that different cultures have their issues around the way women are viewed, but the US is by no means the only country that is sexually repressed. After all Queen Victoria practically invented it! Just because it’s legal and accepted that women can be topless in public doesn’t mean people have the courage to flaunt their sexuality on a stage. I’ve even felt a sweeping movement of conservatism in Europe on the beaches and in the spas. It’s upsetting. I hope it’s not because people are feeling unattractive due to mass media brainwashing! Huh. That’s why I love Coney Island. There are all ages and body shapes and nationalities on that beach and it’s so stunningly beautiful!

“Why perform? Because you have to. It has nothing to do with money, making people happy or any lofty values. Performers must do it. It burns in their veins. To be quite frank, if you want to be famous, don’t do burlesque. Become a pop singer or an actor. People love that crap and you can make millions…”

You clearly have vehemently strong views about the ideals and projections of beauty and the female image, as portrayed and encouraged by the mainstream media. What in particular annoys and concerns you?

My main concern is people’s consumption of tabloid news and newspapers. It seems innocuous when you pass by a tabloid in the checkout counter, but I view it as a kind of propaganda and women are the main targets. This star is too thin, maybe annorexic! That star is too fat, maybe has a drug problem! Kirsty Alley is the new spokesmodel for Jenny Craig and what a hero when she looses half of herself. The world hated Anna Nicole Smith when she was a overweight mess, but after her miraculous weightloss she was diefied. When she died people were shocked by her drug use, but it was practically part of her contract with TrimSpa. These are judgements that have ramifications beyond the star in question.

Another concern is that the normal person of moderate means has no connection to art. Museums and opera are for the rich. This lends to the breakdown of free thought in the world. Understanding of art and cultural critique is essential for world peace. It’s no wonder the US has been so aggressive and war mongering. Look at our arts funding and education, it’s the lowest of priorities and so embarrassingly underfunded.

You also previously told us that ‘there is something inherent in the world of the tease that speaks to women’ Why do you think that is? Is there a subtlety that woman are receptive to and can appreciate? Do you think womens sexuality is more complex?

I don’t think that women’s sexuality is more complex. It’s just different than a man’s and just in case you haven’t noticed, the world is mostly still run by men. If this wasn’t so, there would be a majority of women in politics because we have the capacity to work together so well. The fact is that men run the world and their idea of womens sexuality is different from ours. Women have the ability to achieve complete freedom when we are able to express ourselves completely and to date our sensuality and sexual power has not been fully expressed because it has been filtered through a different lens. Burlesque has been the clear expression of our view of ourselves. There are a few men who are willing to put themselves in the vunerable position that we have chosen and their voices are also clear shouting out their opposition to the societal norms that have bound them.

©Neil Kendall

You won Miss Exotic World in 2004. What did that mean to you - did it hold the significance and sense of achievement for you that it has for others? You can see the hunger for that title in the faces of all those who perform each year…

I’m not such a big competition person. I’ve never been very competitive against anyone but myself. In fact, when I was on the old Exotic World stage for my first trip to the Pageant in 2001, after the crazy show was over and the photographers had taken all their photos, there I was standing in a line with all of these incredible performers and some locals Dixie recruited from the local strip club. They were announcing the ‘winners’ and there I was wondering why we had to be judged after that experience we had together.

That said, I think being acknowleged for your work is important. There are too many festivals now trying to copy Exotic World instead of offering awards of acheivement. Winning Exotic World was important to me because of Dixie Evans, Tempest Storm, Kiva Queen of Fans, Tura Satana, Kitten Natividad, Dee Milo, Joan Arlene, Satans Angel, Marinka and all of the wonderful ladies that have shared their talent at the BHoF. I love that they are coming together and enjoying their past with each other and passing on knowlege to us, the younger generation. To be a part of that tradition is marvellous and humbling.

Why do you think the Burlesque Hall of Fame Weekend is, and continues to be so special? What hopes and visions do you have for its future?

As I said above, it’s all about the Friday night show for me. To see a show of the original stars of burlesque in their sixties through eighties is groundbreaking and transgressive for our culture. People bring their A game to these big shows and it’s fun to watch performers push themselves. Miss Exotic World Burlesque Hall of Fame weekend remains the 1st and only reigning queen of burlesque competition.

“…the biggest steaming pile of bullshit is worrying about the future. If you have your feet on the ground and enjoy what you do and work hard, there’s no problems that can’t be solved when you get to them.”

You claim to be the ‘first fan dancer in post-war Bosnia’, in 1997 when the peace accord was signed. That is another experience I would love to hear more about…

I toured to Sarajevo winter festival with the Fortunettes and Tale of the Dog, two Pink Inc. shows that we performed in a lovely communist bunker of a theater. It was the first time I had performed a burlesque routine after doing a bunch of research by watching every fan dance ever captured on film. At least that’s what it felt like. The people in Sarajevo were incredibly resilient. We were there right after the cease fire and there was still limited water and curfews and many war mongering profiteers still in town. I remember walking around on a shopping trip when what in hindsight must have been a CIA guy ‘befriended’ us and took us out to lunch to question what we were doing there and what we bought in the market. It was a little scary there of course and sad to see all of the bombed buildings but I’m so glad that I was able to go there and watch those amazing people enjoy and experience their first spring out of their basements in 4 years.

I always find your writing and rhetoric so intelligent and engaging - do you especially enjoy writing on the things you’re passionate about and involved in, and giving advice?

Of course! I have a big mouth and it’s got alot to say!

You have travelled the world as Dirty Martini - are there any special, particularly significant shows or events that you will always hold dear and remember? Or any places/countries that you especially enjoyed visiting?

I love going to new places, but especially seeing new performers and shows crop up and get better and better. The best to date though is that this weekend I was asked to pose for a fashion editorial in V Magazine shot by Karl Lagerfeld in Paris on the historic staircase at the Chanel Atelier! What a trip. Mr. Lagerfeld was lovely and respectful and I think everyone had a great time. I kept the team laughing and smiling the whole time. I just kept weeping the whole time. Being in Paris enjoying the glorious sunset over the eiffel tower, working with the best in the business and wearing haute couture in my shoot. Dolce & Gabanna even made me a stunning bustier. I couldn’t keep anything unfortunately, but it was an amazing experience. Lagerfeld even looked me in the eye and said ‘we will change fashion!’ What a dream!

From Dirty's incredible shoot with Karl Lagerfeld ©V Magazine / Models.com

And so to a few final things I always ask…

Could you describe an average day in your life when you are not performing? e.g. things you enjoy doing, hobbies, general atmosphere and home life etc.

I’m usually recovering from travel or shows late at night, but some of my favorite days are ones where the time just gets away from you. One whole day away from the internet! Imagine. I love going to brunch with friends and seeing a horror movie or a horrible movie in the afternoon Going for dinner with someone I haven’t seen in a long time that I really miss is wonderful. There’s quite a bit of forced relaxation as well. To keep my body together on my free time, I like to have tune ups at my brilliant Chiropracter Dr. Daniel White. I used to see him when I was dancing more seriously and recently became aquainted again. He’s got the touch to keep me on track after cramped air or train travel. I love getting together with Julie Atlas Muz and getting massages and taking ballet. It’s excellent upkeep and it’s amazing how fast the day goes after class and then lunch and then massage and then trim shopping etc. etc.

Life in the Martini home is always a surprise. I live on one of the busiest blocks in the center of NYC, so the pace of life never slows. I always feel that there’s something to work on and usually there is always something to avoid doing. The months come and go with their pace usually slower after new years and around August, but some years it’s surprising where the major activity is and I look to my horoscope to try to predict the ebb and flow even though usually there is a predictable flow. One of the things that I like the most about my life is the unpredictability. One day I’m performing in front of giant stars or being flown somewhere for a fancy photo shoot and the next I’m trying to rid my apartment of the mice that come in from the rain or lugging my laundry down the street or changing in a broom closet for a show. I love it all.

What are the three greatest life lessons you have learnt?

1. Try to stay as positive as possible
2. Know your strengths and weaknesses and don’t undervalue your talents
3. Don’t listen to or hang out with people who say you can’t do something you care about doing.

What do you still hope to acheive and experience, in particular?

I’m mainly focused on being ready for opportunities that arise. I like to diversify my life and knowledge and strive for whatever is next. I never dreamed that I would be immersed in the life I currently lead. I feel very thankful for the timeline of my life and the opportunities I’ve been given. My intuition has been reliable but I also like to work very hard on things that I believe in. I think also that the biggest steaming pile of bullshit is worrying about the future. If you have your feet on the ground and enjoy what you do and work hard, there’s no problems that can’t be solved when you get to them. It’s best to enjoy the ride and take your love, joi de vivre, friends, great experiences, honors and even failures as they come. I would also like to learn how to ride a horse someday. I find them attractive and terrifying.

Any real regrets in your life, or things you would like to have done differently?

I think it’s very important to give credit where it is due. Sometimes when you are defining yourself you don’t like to acknowledge your main influences and when they mention how much they’ve helped you it’s like poking a cut. Sometimes you don’t really know how much you’ve been given, but in hindsight it’s embarrassing to admit. I wish I would have done everything sooner. I can get complacent so it’s hard for me to recognize when to really bust a move and finish a project especially if it’s something that is a real challenge. Really though the only regret for me is listening to teachers that had their own problems to work through. I wish that I could visit the younger me and set myself straight on a few things! I could slap some teachers that I’ve had when I was a child and even in college, but even more I’d like to slap myself for believing their narrow minded opinions…

©Steven Menendez

Wise and wonderful words from your official favourite burlesque performer 2009!

Our thanks to Dirty for all her time and generosity.

For more of Dirty, visit her official website, or her myspace profile for images and news…

FAMILY VACATION: THE KEY WEST BURLESQUE HOLIDAY EXTRAVAGANZA

by Trixie Little

“These are my friends and this is my life.”
- Tigger on stage during Friday night curtain call.

Through some magical combination of warm weather, gorgeous people, lush foliage, hours

Batten the brassieres and hold onto your hatches! ©Trixie Little

of hot-tubbing, amazing entertainment and cases of fruit flavored Vodka; the Key West Holiday Extravaganza was the first festival that really did feel like a vacation.  A tropical getaway with all of your crazy sisters, gay brothers, eccentric aunts, kissing cousins and your pasty Uncle Murray.  The memories are all vivid and postcard worthy:

A wind-swept afternoon sailing under perfect white clouds on luxurious turquoise water contrasted by the exposed backsides of my friends and lover who tauntingly wagged their junk at us from a nearby boat.

The soon-to-be infamous all-night hot tub party that not only yielded many hilarious Spin -the-Bottle pairings, but also resulted in the eviction of several prominent burlesque guests from a respected bed and breakfast.  (Names withheld to protect the guilty!)

Murray Hill masterfully commanding Hot Toddy to demonstrate tea-bagging on a middle aged woman on the edge of an outdoor stage nestled into tangles of palms and ferns while burlesque performers dangled adoringly from the decks above.

Kayaking with Johnny Porkpie deep into a mangrove cove with throngs of topless paddlers lead by Roxi D’Lite and Gigi La Femme- who were especially intent on exposing themselves to nature.

A tipsy Tatah Dujour taking a cake in the face so that birthday girl Minnie Tonka didn’t have to.

Slipper Room owners James & Camille Habacker pedaling around on a tandem bike with their kids while on a site-seeing-burrito-eating bike tour.

Sunday afternoon Bingo that had everyone giddy to win tropical novelty crap while hopped up on mile high Key Lime pie.  Darlinda - I hope you use that resin dolphin clock!

And then there’s Julie Atlas Muz’s Friday night performance… sigh…

Julie was kissed and licked by her synchronized man-semble. ©Richard Just

What else can be said about the magical sexiness of Julie Atlas Muz that hasn’t already been said?  I can only try to do justice to the heart-tugging hilarity of her synchronized swimming number on Friday night.  As someone who got started in burlesque after a four-year immersion in the glamorous athleticism of water ballet, I’ve always admired Julie’s underwater work, but I can say with confidence that she achieved a new milestone in Key West.  This feat was accomplished in part by the clever casting of some of the sexiest men we all know: Ken Ball (Slipper Room’s dapper doorman, DJ & bass player), DJ Momo Taro (Pop of Gigi & Pop), Mat Fraser (UK’s astouding Seal Boy & muse to Ms. Muz), The Evil Hate Monkey (my primitive partner in crime), Marquis Von Phister (strapping hunk of KWBQ), Johnny Porkpie (author and Pinchbottom Burlesque co-founder) and Golly G (lithe KWBQ dancer).

Now imagine this illustrious man-semble attired only in red swim caps and pink jock straps swimming in formation with a blond bombshell posing perfectly above their heads.  The site of these muscular, manly derrieres completing cascading dives into the stage-front pool on Friday night had the audience alternately laughing, crying and squealing with delight!

Given my personal love affair with synchronized swimming, I became so enraptured with the moment, I felt for a second as if Julie was performing a living dream that only the two of us could understand.  But the deafening applause brought me back to my senses in time to drop my jaw into my lap.  It was at that moment that Julie was first licked and then kissed all over every limb by each glistening guy, only to be lifted high above their heads and offered up like a goddess to the crowd.  Hearts and time stopped.  It took a moment to regain my lucidity and ponder the full scope of her genius.  With that glorious number, Julie was embodying every showgirls’ fantasy:  being worshiped by sexy people, looking gorgeous doing it and loving every single second of it.  Chills.  Tears.  Joy.  Love.

Left: Monkey and I wore pastel colors to try to fit in while sight-seeing at Mile Marker Zero. Key West is the southern most part of the continental United States. Right: Co-Producer of the KWHE, Tatah Dujour. ©Trixie Little

It’s hard to top that moment, but the truth is that every single hand-selected act brought it BIG TIME.  I could go on and on with the love fest, but I’ll spare you from gagging, dear readers.   Allow me to just mention a few more personal highlights…

- Nasty Canasta’s back side as seen in a green barely-there piece of fabric/gown.

- Hot Toddy’s hilarious portrayal of a skeezy lounge lizard

- Dirty Martini jumping into the splits for her finale

- Having Uncle Murray to lead Bingo

- Mat Fraser’s indescribable Kali-like squat with arm wave and rapid tongue-rippling

- And sharing a fancy private guest house outfitted with hammock and hot tub with Michelle L’Amour and Franky Vivid!

Dirty's bling was on her tips - actual CHAIN set into her nails. The rings were nice too! ©Trixie Little

Credit and applause is also due in spades to organizers Tatah Dujour & Marky Pierson (well-loved Key West masterminds who cooked up the whole crazy idea) and Thirsty Girl Jen Gapay (illustrious NYC producer and co-founder of the NYBF).  They are truly professional party-ers and party-makers who I would follow to the ends of the Earth!

"It’s family vacations like this one that give us the chance to reconnect with what’s truly important: love, laughter and glamour..." ©Trixie Little

It’s hard to explain to normal people about the bond we have in our US burlesque community.

What we do requires such a mix of self-acceptance, self-indulgence, bravado, and hard work that we run the risk of competing all the time.  But it’s people like Dirty, Julie, Indigo and Tigger whose generous spirit over the years has constantly empowered instead of impeded relationships.

So, when one year seems to run into the next and success ebbs or flows, it’s family vacations like this one that give us the chance to reconnect with what’s truly important: love, laughter and glamour…

See the line-up here…

And videos here…

To enjoy more of Trixie, click here…

You may like to read Trixie’s 2009 New Orleans Burlesque Festival Diary…

1950s Halterneck Red Sweetheart Dress by Vivien of Holloway

(modelled by competition winner, Rebecca Allen!)

The annual day of shameless sentiment and declarations of loooove is almost upon us…

Another perfect excuse to buy more dresses and underwear, if nothing else!

©Unique Vintage

Unique Vintage offer a dazzling array of gowns and party dresses, including the sumptuous little collection above…

From left to right: Red Ruched Satin Bow Mermaid Dress $98.00; Gathered Red Sateen Party Dress $78.00; Red Beaded Strapless Taffeta & Tulle Dress $118.00; Red Lovespell One Shoulder Dress $150.00

©La Magia

But what are you going to wear under that dress?

Perhaps the Red Delicious Silk Bra, by Elegantly Scant (above left) - a gently padded 100% silk bra with a playful red silk ruffle trim? Now £25.

Or this beautiful set from Miss La La (above right) - made from soft, pale pink silk with a stylish red and white bow print, with red ruffle trims and oversized bows? La Magia are currently offering this set at half price! (Bra now £45, Tap Pant now £30, Matching chemise now £75)

©La Magia

The Lulu range from What Katie Did is still incredibly popular - we love it in luscious Valentine red!

The Lulu Corselette (above left) is made from double layer powermesh for some serious control beneath your clothes, and is panelled with red satin and black lace overlay. Smooth enough to be worn beneath the slinkiest of outfits (and low-back dresses too thanks to a fabulously low back). £65

Above Right: Underwired Bra £39.50, Deep Knickers £25, Suspender Belt £30 (Also available at La Magia)

©Laura Byrnes (PinupGirlClothing)

Whether you’re being wined and dined on a night out, or cooking a romantic dinner at home, Pinup Girl Clothing has a knockout frock for both occasions!

Above Left: Vintage Inspired Halter Swing Dress in Red Satin by Dixiefried Clothing $110

Above Right: The Dorothy Dress in Red with Black Trim by Pinup Couture $76

Last but not least - why not be pretty in pink!

Above left: Velda Lauder Strawberry Longline Underbust Corset £235

This corset comes down low over the hips, giving more control and coverage. Made from strawberry pink silk and adorned with contrasting red lace applique. Steel boned and with lacing to the back, this corset is handmade in London. With extra curvature around the hips and ribs it creates a perfect hourglass shape, remaining comfortable while defining and enhancing any woman’s natural shape.

[Image ©La Magia]

Above Right: Vivien of Holloway Sarong Pink Sweethearts with Bolero £89.00

The centre piece of the new Valentine Collection. This Sarong is made from a Cotton Sateen fabric and comes in a choice of a pink or red background with a white ‘polka-heart’ pattern.

[Image ©Vivien of Holloway]

Coming Soon: Springtime Fashion Picks!

Read on to find out what is in store at this week’s Scandanavian shimmy-fest!

Being of northern descent, I know I’ll love the culture of Finland. And I’ve heard nothing but beautiful and fabulous things about Helsinki burlesque! The people and the producers go so out of their way to make your visit a truly memorable one! This is true, classy burlesque at its finest! And that’s why this old legend knows… It’s going to be HOT HOT HOTTER THAN HELL IN HELSINKI!

With Ta Ta’S Flambe,
SATANS ANGEL
QUEEN OF THE FIRE TASSELS

Burlesque fever has been raging in Scandanavia for some time now - the community is thriving. One of the annual highlights on their burlesque calendar is The Helsinki Burlesque Festival, and this year, the line-up is especially impressive!

The headliner and honoured guest this year is none other than Satan’s Angel herself! And she will be joined by World Famous *BOB*, Vivienne VaVoom, Scotty the Blue Bunny, Fancy Chance, and native nymph Sugar Kane, amongst many another wonderful performers.

As well as the big show on the 6th, there are workshops, photo exhibitions, fortune telling and shopping to enjoy throughout the week.

I had a chance to chat with Bettie Blackheart, who heads up the festival production team with her husband, about what lies in store for visitors this week…

Bettie Blackheart and husband, Frank Doggenstein, by Kerttu Malinen.

So Bettie, what can visitors expect from the festival this year?

The visitors will get a wide variety of contemporary burlesque, from legends to newcomers. The local artistes have more stage time than last year. There are more MEN among the performers than ever, men also have their own workshop! And the main event will be a three hour showcase of burlesque at it´s best!

Are you excited/encouraged by the increasing popularity of burlesque in Scandanavia?

This is a question with two answers - the popularity is good and bad. The phenomenon is being discovered by the mainstream businesses here - that brings exploitative and greedy people to the community. But this is something that has surely happened in many countries before and the scene will keep going anyway after the hype has settled. The good thing is that new people will discover the artform and, since getting a lot of visibility, we can do our best to tell our side of the tale and keep the Burlesque community alive, kicking and creative!

What is different/new this year compared to the 2008 and 2009 festivals?

The first festival was a total leap into the unknown - we had no idea if there were going to be thirty or one-hundred people, we ended up selling out for almost four-hundred people.
The next year was like when a band make their second album - you have to prove that the first hit was not just a happy accident. All went well and the crowd seemed to want more so here we are!

I think this year is the first one when we can really concentrate on the smallest details and also enjoy ourselves at the party - be more relaxed. This is also the first year that we have a big enough crew that we can take the time to perform ourselves too. We are  totally honoured by the AMAZING talent who want to come all the way to winterwonderland!

Can you tell us about some of the hard work and preparation that goes into organising the festival?

Our main team is fairly small. This year we have some changes ahead too since Kiki Hawaiji who has been working with us from the beginning has brought Burlesque into her hometown Turku. So when Turku Burlesque kickstarted with a bang we desided together that my husband Frank Doggenstein and I would continue managing Helsinki so Kiki can concetrate on Turku. We collaborate  among other things by performer exchange and by organising Burlesque Bus trips to parties inbetween cities. So there has been changes and also the work has increased.

The preparations for 2010 have begun in 2008, when Frank and I visited Tease-O-rama. We try our best to see all the performers that we bring out here live before booking. We then decided we would try to bring Satan´s Angel to Finland, because it has been clear to us from the beginning that we do not want to compete with the quantity of performers, but the quality!

And I could not be more pround of the fact that among other fabulous performers, a legend like Satan´s  Angel is now packing her firetassels and flying here to melt the snow!

Since we take care of all the travel and accomodation for the performers, the booking work starts early the previous year. The theme of each year is decided approximately eight months before. The people here love to dress up accordingly and they do it fabulously - the audience start preparing for the biggest burlesque event of the year in good time ahead. Finland is dark and cold for some months in the year, so people are really in need of some feeling of carnival in the middle of the darkest winter. The audience here is certainly a big part of the whole show with their amazing creations. For the last two months, the preparations have sped up, so it takes up all the available and unavailable time!

But, as I said, it is fantastic that there are so many more enthusiastic, creative, talented people who are working with us  - so most of the work, besides sitting by the computer, in fantastically interactive joyful collaboration with people that are your second family!

 

Finnish beauty, Sugar Kane, is also extremely excited about the upcoming festivities…

“It’s an understatement to say I’m looking forward to this festival. I’m actually in fits about it for numerous reasons!

First - Satan’s Angel! I can’t believe I get to perform with such a legend. I’m very honoured and thankful to HBF that I get to be a part of it (the line-up is filled with other huge names too!)

The burlesque scene in Finland really started blossoming since the first HBF in 2008 with new performers taking to stage and events been organised on a regular basis. It’s very important for me to support this growth and for my own part hopefully make more Finnish people aware of the artform.

The act that I’m doing at HBF was made with Finland in my mind so only the Finnish audience will get the whole self-irony, parody and the use of music 100%. Though it’s an act that has had great success in other countries too, it’ll be a real treat for the HBF10…”

Festival Highlights

6th February: Main Event / Show (Kulttuuriareena Gloria, Helsinki)

See all the stars do what they do best, then party until dawn!

Click here for more information…

Workshops

World Famous *BOB* (4th and 5th Feb)

Satan’s Angel (7th Feb)

Click here for details…

Finnish Book Release of Michelle Baldwin / Vivienne VaVoom’s ‘Burlesque and the New Bump-N- Grind’

“This is my first overseas performance, so I’m very excited to experience burlesque in another country! I’m also looking forward to my book, ‘Burlesque and the New Bump-n-Grind’ finding a whole new audience with the Finnish translation. The Helsinki February temperature is a little daunting, but I’m bringing my fuzziest winter hat and warmest vintage coat, and if those fail, I’ll just have Satan’s Angel light her tassels and stand next to her!“

Vivienne VaVoom

Click here for details…

We wish Bettie and her team all the very best - it sounds like everyone is in for a truly fabulous time! Post-festival goodness to come…

www.helsinkiburlesque.com

Who have thousands of you voted your TOP TEN Burlesque Performers 2009?

Time to find out…

No. 10 >>>

We are pleased to give you the Burlesque TOP 50 for 2009 - as voted by YOU!

THOUSANDS of you have voted from all over the world - we were stunned by your response and are so glad that everyone took the time to vote.

This is a collective decision - some of you are performers, or people who work within burlesque as producers, writers, organisers, teachers, costumiers, photographers and so on. Others of you are dedicated audience members and enthusiasts. So the people that have made this shortlist have been voted for by their peers and their fans alike.

Overall, you nominated over 800 different performers!

We know that there will be inevitable discussion, and possibly some disagreement about who came where, and those who haven’t made the TOP 50 at all - believe us when we say there have been some shocks and heated discussions in our team over the results!

But here they are - YOUR TOP 50. The fifty individuals who have most impressed, entertained and inspired you in 2009. So let’s celebrate and acknowledge them!

20 - 11

Click on any name to find out more…

20. Kitten Deville (Miss Exotic World 2002)

Kicking off the Top 20 - it’s the Queen of the Quake!

Kitten is one of the most recogniseable burlesque stars; a towering modern-day Monroe who remains completely unique.

Kitten has appeared in every art medium you can imagine.

Books, magazines, music videos, photographs, paintings, documentaries, calendars and catwalks. Bunny Yeager, David LaChapelle and Jean-Paul Gaultier are just three of the big names she has worked with.

Kitten has her own school of burlesque in California, and continues to thrill audiences with her signature shimmy worldwide…

19. Dixie Evans

Now we have a chance to salute a very special lady…

‘The Marilyn Monroe of Burlesque’ (as named by Harold Minsky himself) - Dixie Evans is a living legend and burlesque godmother to us all.

She presides over the Exotic World Museum - a breathtaking collection of images, footage and costume that tell a thousand burlesque stories. And boy, can Dixie tell a good story. We have had the pleasure of hearing some of them, and you always go away wanting to hear more.

It truly is inspiring to speak to her - she is walking, talking, breathing burlesque history…

18. Angie Pontani (Miss Exotic World 2008)

[Angie Pontani ©Orlando Marra]

Miss Cyclone has blown her way to No.18 on your list!

Credited as one of the pioneers of Neo-Burlesque; Angie has made burlesque her passion and her business.

She enjoys a high-profile career, appearing in prominent publications and television shows, posing for prominent photographers, and entertaining A-list celebrities.

A choreographer and producer as well as headline performer; Angie produces the New York Burlesque Festival each year, and co-produces and stars in the off-broadway hit, ‘This is Burlesque’

A recent highlight for us was Angie’s farewell performance at The Burlesque Hall of Fame Weekend 2009. It was so simple, so disciplined, so skillful. No gimmicks or props - just Angie. It was like a beautiful dream - everyone was spellbound…

17. Perle Noire

[Perle Noire ©LA Burlesque]

The Black Pearl of New Orleans is at No. 17. A bold, beautiful burlesque firecracker with a unique talent and fearless dedication.

Perle’s high energy perform ances have to be seen to be believed. Described by some as the reincarnation of her heroine, Josephine Baker; Perle dances with strength, confidence and breathtaking gymnastic agility.

In 2009, Perle was crowned ‘Queen of Burlesque’ at the New Orleans Burlesque Festival. She won Best Debut at BHoF in 2008, and Second Runner Up in 2009 - we are sure that we will see her crowned Reigning Queen at BhoF in the near future…

16. Kalani Kokonuts (Reigning Queen of Burlesque 2009 [Miss Exotic World])

[Kalani Kokonuts ©LA Burlesque]

We give you - your Reigning Queen!

We made no secret of the fact that we wanted to see Kalani take the crown this year - and she did it in fine style! (You can read all about her life and career here…)

The ultimate showgirl of burlesque. Every show Kalani produces is an awe-inspiring culmination of her vision, imagination, experience and showmanship; they go above and beyond a one-dimensional striptease. Kalani creates theatre and spectacle - an entire fantasy world springs to life around her.

“Kalani is a lovely person that I have my fingers tightly crossed to work with again soon…” Catherine D’Lish

It was when we saw Kalani’s ‘Geisha’ that we simply ran out of things to say. It was exquisite in its drama, beauty and epic scale - complete with taiko drummers and falling snow. Sensual overload, delivered with absolute authority…

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

15. Trixie Little and The Evil Hate Monkey

In at No.15, “an award-winning acrobatic burlesque superduo…mixing years of high level circus training, brilliant comedy and electric onstage chemistry…”

Sometimes, when a performer is hilariously entertaining, it can be easy to overlook the talent and dedication to their craft that makes it all seem so effortless on the surface. That never happens with Trixie and Monkey, because they positively ooze talent from every cheeky pore!

And Trixie and Monkey are equally as impressive and inventive when they perform separately, as they did recently at BHoF 2009, in their respective categories. Their performance at The New Orleans Burlesque Festival later in the year perfectly demonstrated how charming they are together.

We have witnessed nothing but deep affection for this dynamic burlesque double act…

14. Tigger! (Mr Exotic World 2006)

This outrageous and award winning neo-boylesque performer has made it to No.14 on your list!

The first ever ‘Mr Exotic World’ to be crowned, and the recipient of several Golden Pasties.

Tigger! is unpredictable, scream inducingly naughty, and eye-wateringly flexible! (We have seen male audience members cradle their privates in horror when Tigger! does the splits!)

Buzzing with boundless energy and flamboyance, burlesque wouldn’t be the same without him…

“I met Tigger in the early moments of the new burlesque revolution and was blown away by his exciting performances. Tigger can perform Shakespeare, tell you what famous person was born on your birth date and turn a burlesque audience into a rowdy mob all with equal precision. Everyone who’s been to an international burlesque festival with him feels as if they know him intimately on first meeting. He is the first man of the New Burlesque defining what gender and performance can do to change perceptions of what is possible. For me, the magic is that he can take an audience full of ‘regular guys’ who arrived to see naked ladies and make them feel a little more comfortable with some fairly taboo and dangerous concepts…” Dirty Martini

13. Amber Ray

A burlesque butterfly with bright, luminous wings; Amber travels the world with her brand of “Professional Sensationalism”.

A beauty who creates beauty - you can always rely on Amber to create something colourful, sensual and inviting. Described by Molly Crabapple as a “veritable chameleon,” Amber is equally capable of playing the diva, the siren, a spirit of nature, the clown or the outright bizarre.

Amber also fashions beautiful costumes, headdresses and hair ornaments, and can often be found proudly selling her creations to burlesque festival-goers before thrilling them on-stage in the evenings.

With such an eye-catching presence and zest for life, it is no surprise that artists, photographers and publications are eager to immortalise her…

12. Julie Atlas Muz (Miss Exotic World 2006)

Julie is someone we can’t really define. In fact, we wouldn’t want to limit her scope of artistry and performance by attempting to define her.

A mistress of illusion, innovation, suggestion and sexuality; Julie’s creations are intelligent, provocative and extremely entertaining…

Take it from those who know her best…

“Julie is one of the most unique performers in burlesque. She weaves dance and clowning together like nobody else; plus she makes some of the most beautiful and inventive use of props of anyone I’ve seen…” Jo Weldon

“Julie Atlas Muz is one of the most ingenious and under appreciated minds in the New Burlesque. Julie has been defining the parameters and shaping new burlesque since I met her in that fabulous tiny little burlesque venue, the Red Vixen, way back before anyone knew that ‘burlesque’ could mean something different than ’strip joint’. Now that everyone you meet on the street knows someone whose cousin does burlesque, Julie continues to innovate, push boundaries and can perform classic retro burlesque better than anyone on the scene. In a land of retro re-enactments, Julie is a true artist…” Dirty Martini

11. Satan’s Angel

[Satan's Angel ©Brian Smith]

Do they come more charismatic, ballsy and brilliant than this lady?!

This living legend is adored by new and established performers alike - her teachings and stories are treasured and shared, and there is always an eager queue waiting to say hello wherever we see her. We were thrilled to see her receive a Lifetime Achievement Award at BHoF 2009.

Hell - this woman has truly lived her life in a way most of us would never dare to!

And you ain’t seen nothing until you’ve seen her work those legendary fire tassels! (Which reminds us of a certain Tease-o-rama when the venue banned her from lighting her tassels at the last minute, and she defiantly declared she would march outside after the show and perform her fire tassels on the traffic island!)

Once you have met her, you will NEVER forget her. A burlesque force of nature…

So here we are - only the TOP TEN to go! Stay tuned…

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

We are pleased to give you the Burlesque TOP 50 for 2009 - as voted by YOU!

THOUSANDS of you have voted from all over the world - we were stunned by your response and are so glad that everyone took the time to vote.

This is a collective decision - some of you are performers, or people who work within burlesque as producers, writers, organisers, teachers, costumiers, photographers and so on. Others of you are dedicated audience members and enthusiasts. So the people that have made this shortlist have been voted for by their peers and their fans alike.

Overall, you nominated over 800 different performers!

We know that there will be inevitable discussion, and possibly some disagreement about who came where, and those who haven’t made the TOP 50 at all - believe us when we say there have been some shocks and heated discussions in our team over the results!

But here they are - YOUR TOP 50. The fifty individuals who have most impressed, entertained and inspired you in 2009. So let’s celebrate and acknowledge them!

30 - 21

Click on any name to find out more…

30. Leyla Rose

After nine years as a professional belly dancer, Leyla exploded onto the UK burlesque scene, and has performed internationally alongside some of the best in the business. Often found on stage or in the classroom with her partner in crime, Missy Malone; Leyla has featured in Harpers Bazaar, Q Magazine and Playboy, and is proudly sponsored by Vivien of Holloway.

29. We have a tie!

Khandie Khisses

Our resident columnist has made your list! Spreading fun and joy with endless exuberence, wit and vigour; Khandie has become a much loved addition to the UK community. She constantly surprises us with a new style or approach, and is never afraid to articulate her opinions or concerns with intelligence and good humour. It’s a pleasure to have you with us Khisses…

Diva Hollywood

Khandie shares her spot with another UK starlet. We hear such affectionate accounts of Diva from those who have received support and inspiration from her.  We were fascinated and privileged to learn more about her struggle with MS, which she discusses openly in the hope of encouraging others to be open about their disabilities, and even allow it to enhance their creativity and performance, as she does.

“I get amazing emails from audience members and other performers making me feel very humble about the fact that I have been so open about my illness and that going out there doing what I love gives them strength and confidence to fight what is going on in their lives…”

28. Miss Astrid

This weimar wonder holds a very special place in our hearts. We defy you to find an emcee with such eye-wateringly sharp wit and deadpan disdain! Her timing and perception is quite simply incredible - you don’t know whether to cower in your seat or howl with laughter.

A highlight for us this year was seeing her conduct the wedding ceremony for Michelle and Franky at BhoF this year. We were dabbing away the tears on this beautiful occasion - but we could hardly tell which were tears of joy for the happy couple and which were Astrid-induced tears of hilarity! If you haven’t experienced this iron lady in action yet, do so immediately - you don’t know what you’re missing…

27. Honey Lulu

Arguably best known for her iconic giant teacup; Honey frolics with an array of elegant props and constructions for our delight. Teacups, perfume bottles, a giant purse - she thinks big, but always keeps her performances classic, clean and glamorous, with tongue firmly in cheek. We find her utterly charming…

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

26. Kitten on the Keys

Another hot hostess at 26! We first came across Kitten at Tease-o-rama some years ago, were we enjoyed several interludes of saucy songs, and were soon singing along with the rest of the audience to such classics as ‘Salty Meat Girl’, ‘Pretty Princess Day’ and ‘Pony Girl’!

Equally wonderful in a beautiful gown seated at a grand piano as she is with big pink hair and mini ukelele’s over her nipples; Kitten is delightfully silly, outrageously naughty and extremely talented…

25. Ava Garter

Hold on to your hats folks! Scorching hot Hollywood siren ahead! With her flaming red mane and hypnotic amber eyes, Ava transports us back to a golden era of glamorous, feisty women.

Described by Liz Goldwyn as the ‘Striptease Queen of the Silver Screen’, Ava has performed world-wide, for a variety of high profile brands, with mouthwateringly gorgeous costumes and classic, playful routines. We have enjoyed getting to know Ava, and can’t wait to see what she comes up with next…

24. Gentry de Paris

At 24, the hard-working Hollywood honey who brought burlesque back to Paris. In a city saturated with commercialised titillation, Gentry’s glittering spectacles and soirees attract an eclectic mix of celebrities, eccentrics and jetsetters, as well as the grateful burlesque enthusiasts who flock to enjoy the classic striptease and cocktail-fuelled frolics.

In 2009, Gentry realised a grand vision - The Gentry de Paris Revue at the historic Casino de Paris - a modern reinterpretation and revival of the traditional Grande Revues of Paris.

A classically trained dancer; Gentry shares her ethos and experience with her students at her school of burlesque, and is frequently consulted by the french media for her burlesque insight and expertise…

23. Missy Malone

Part rock-chick, part pinup princess; Missy has to be one of the most popular and recogniseable UK performers. Actress, trapeze artiste, model, stilt walker, striptease siren and instructor - Missy is already well established at 24 years of age, and remains highly sought after by photographers, producers and brands…

22. Nasty Canasta

It is widely agreed that Nasty is one of the most innovative and frankly ingenious neo-burlesque performers of today. Thanks to her ‘Unknown Stripper’ routine, we can safely say we will never think of Groucho Marx in the same way ever again. Ever.

She is bold, she is unique, and thoroughly deserves her place on this list…

21. Little Brooklyn

Just hearing her name brings a smile to our faces. Little Brooklyn is one of the greatest comedic burlesque performers we have.

Merging slapstick and striptease, she never slips out of character for so much as a second. (So that makes her niche ‘StripStick’… Or ‘SlapTease’…   Now we think about it, StripStick sounds like a burlesque product someone should invent - maybe like a glue stick for stripper-related craft activities? SlapTease sounds kinda kinky…   Anyway, we digress!)

Only this year (2009) she was awarded ‘Most Comedic’ at the Burlesque Hall of Fame pageant, and has won a hat-trick of Golden Pastie awards in her native New York.

She is so brilliantly expressive and fearless - willing to stoop to all levels of ridiculousness for our entertainment! Brooklyn - we thank you!

UP NEXT: THE TOP 20 - AS VOTED BY YOU!

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

We are pleased to give you the Burlesque TOP 50 for 2009 - as voted by YOU!

THOUSANDS of you have voted from all over the world -  we were stunned by your response and are so glad that everyone took the time to vote.

This is a collective decision - some of you are performers, or people who work within burlesque as producers, writers, organisers, teachers, costumiers, photographers and so on. Others of you are dedicated audience members and enthusiasts. So the people that have made this shortlist have been voted for by their peers and their fans alike.

Overall, you nominated over 800 different performers!

We know that there will be inevitable discussion, and possibly some disagreement about who came where, and those who haven’t made the TOP 50 at all - believe us when we say there have been some shocks and heated discussions in our team over the results!

But here they are - YOUR TOP 50. The fifty individuals who have most impressed, entertained and inspired you in 2009. So let’s celebrate and acknowledge them!

50 - 31

Click on any name to find out more…

50. Greta Garter

Making her beginning in the Moscow ballet at the age of three; Greta is a fire-breathing, trapeze-flying temptress who performs with The Alley Cat Revue, St. Louis.

49. Kiki Kaboom

Kiki was crowned 2009 Best Newcomer at the London Burlesque Festival, and is a regular on the London circuit. She also teaches at the London Academy of Burlesque.

48. Melody Mangler

Melody soared in popularity this year when her beautiful performance at the Burlesque Hall of Fame Weekend this year won her ‘Best Debut’.

47. Go Go Amy

From Go Go Girl to Burlesque Bombshell - Amy is a shimmying, teaching, modelling machine!

46. Millicent Binks

A true burlesque beauty - Millicent has brought her signature style and presence to burlesque, and is equally in demand as a model and muse. This year, she brought her elegant and playful ‘English Rose’ routine to the Casino de Paris for The Gentry de Paris Revue. A unique personality; we anticipate more excitement and stunning creations from this young lady…

45. Peekaboo Pointe

Peekaboo oozes sass and sexiness! An extremely popular performer; she thrilled us at BHoF this year as a feline femme fatale!

44. Scarlett Letter

In her own words: “I sew ’til my fingers bleed, and read ’til my eyes pop. The music never stops and my hair hasn’t given me whip-lash yet. Just give me the word and I am good to go!”

43. Lola Spitfire

The creator of ‘Peaks and Pasties’ - Southern Colorado’s first and only burlesque, boylesque, vaudevillian, variety troupe; Lola Spitfire and her troupe perform at the most prestigious venues in Southern Colorado and frequently contribute to local charities. She aims to incorporate “classic, traditional, vaudevillian, and modern talents, along with the art of theater and burlesque” into every show she produces.

42. Red Snapper

Acting, stripping, choreographing, directing, teaching - Ms Snapper never seems to stop. And you’ve recognised her hard work by voting her into the Top 50!

41. Clams Casino

Innovative and hilarious in equal measure, Clams is a NYC burlesque treasure. She is a Golden Pastie and BHoF award winner, has co-produced and starred in a string of successful shows, and has been featured in many publications…

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

40. Dizzy Von Damn

Miss Viva Las Vegas 2008 is at number 40! An award winning performer, singer, comedienne, hostess and “all-round badass!”

39. Renea Le Roux

The powerhouse from Atlanta, Georgia comes next - an unmissable towering presence at any event, with out-of-this-world curves and flamboyance. A gifted costume designer; she put on a dazzling display at BHoF and The New Orleans Burlesque Festival this year…

38. Tanya Cheex

Cheeky Canadian Cheex is the artistic director of Skin Tight Outta Sight and a has a very popular blog. She is also a gifted costume stylist and events coordinator, and a much loved member of the burlesque community…

37. Ophelia Flame

This Top 50 just caught fire! Ophelia Flame has been performing for almost twenty years and still burns up the stage with her sensuous presence and elegant, classic routines. Also a producer and choreographer; Ophelia is trained in a range of dance mediums and is one of the most respected and experienced performers on the circuit…

36. Indigo Blue

It’s the queen of tassel twirling at 36! We first came across Indigo at Tease-o-rama some years ago, where we experienced her expert teaching and craftsmanship for ourselves. She is the headmistress of The Academy of Burlesque in Seattle, and the organiser of BurlyCon - a fabulous annual weekend of workshops, panels, social events and classes. Her performances are so creative and original, and always with ‘A Wink and a Smile!’…

35. Fancy Chance

On a mission to spread laughter and entertainment, this comedy performer and can-can cutie is the director of Burly Q: A Queer Cabaret, in London, and was crowned Miss Alternative World in 2009…

34. Frisky and Mannish

We aren’t surprised to see this talented duo make the list - WHAT a year they have had! We experienced them for the first time this year, and were clutching our sides with laughter within seconds! Genuinely musically gifted; their witty pop parodies and splicing and merging of musical genres is pure genius. A unique and exciting presence on the UK burlesque and variety circuit…

33. Joe Black

What a popular chap we have at 33! Enjoyed and applauded up and down the United Kingdom, this er… morally dubious young man has clearly earned your respect - and your votes!

“Whether master of ceremonies, singer, dancer or actor…Joe Black is ready to give you a show, that years of therapy couldn’t even help you forget!”

32. World Famous *BOB*

Well folks, take it from us - you haven’t had a real martini until you’ve had one expertly mixed in this lady’s cleavage! It is a spectacle to be seen!

Bob’s credentials and resume are mindblowing. She has been photographed by the likes of David LaChapelle and Mario Testino, taken to the catwalk for Lane Bryant and worked with Thierry Mugler, starred in MTV commercials, won five Golden Pastie awards, and graced the pages of Marie Claire, Esquire, Hustler, New York Times Magazine, Paper, Mode and Bust Magazine, amongst many others.

Not to mention her warmth, friendliness, creativity and dedication. World Famous *BOB* is world class…

31. Red Sarah

Red Sarah continues to win the respect and gratitude of  fellow performers that benefit from her tuition, guidance and support. A statue artiste, stilt walker, DJ and drag king, as well as an accomplished burlesque performer - Red Sarah’s great strengths are experience and character development. Her ‘Act Doctor’ sessions seem to be especially in demand, helping performers to tweak and enhance their routines, and establish narrative and intent.

COMING NEXT: 30 - 21! STAY TUNED!

Want to discuss the TOP 50 results? Join the discussion on our facebook page!

Katie Halford, the superwoman behind What Katie Did, has written a wonderful article  on corsetry for beginners and enthusiasts alike…

There is a lot of intrigue concerning steel boned corsets and how they will effect your body. I have 15 years experience in working with corsets and whether you’re thinking about trying one, or would like to learn a little more about them, you’re in the right place! Information on sizing and putting on can be found here…

The fashion corset wearer…

At What Katie Did we class a ‘fashion corset wearer’ as someone who wears a corset for an evening out once a month, right up to someone who wears one nearly every day. This kind of wear is what our corsets are designed for.

The ‘Dita Von Teese’ shape…

If you are looking at trying a corset for the first time, please remember that your current figure will effect the outcome. Whilst you might think that Dita Von Teese has the most famous trained waist in the world today - it isn’t really trained at all, and Dita is the first to admit it!

Dita is in the enviable position of having a classic hourglass figure with an unnaturally small waist. She also has access to the finest bespoke corsetiers in the world and if you look closely you’ll see that the majority of the waist reduction is confined to a small section around her waist. This allows her waist to be clearly defined without undue pressure on her ribs enabling her to wear a corset with dramatic results, whilst not waist training.

To achieve similar results to Dita you will need to have, what we call, a Vintage Figure: one where the waist is a good 10 inches (or more) smaller than the hips. Figures like this do exist but they are becoming less common. I have a friend who is lucky enough to have an extreme vintage figure: 19″ waist, 35″ hips. She wears a 17″ corset daily which, although looks extreme, really isn’t much of a reduction. If you have a more modern figure (with a waist less than 10 inches smaller than the hips) then it will be hard for you to gain such dramatic results, especially if you only want to wear a corset on the odd occasion. Harsh words I know.

That’s my personal opinion anyway. Women in our boutique always seem thrilled at their corseted shape! Talking of which, always allow at least half an hour for a corset fitting as although you might have decided which corset you’d like in advance, a different style might be more suitable (and we can make our corsets in any of the fabrics we carry so you don’t have to worry about missing out on a certain fabric or colour).

 

Morticia is our most popular underbust style...

The right What Katie Did corset for you…

If you have a Vintage Figure, try one of our styles with gored hips - Laurie, Mae, Morticia, Antoinette or Baby.

If you have a Modern Figure, try a style without gored hips - Gina, Sophia or Dolly.

Our corset shapes with gored hips are specifically designed for hourglass figures and will not fit a very Modern Figure (with the exception of Baby). Our corsets without gores are suitable for both Modern and Vintage figures.

By the way, we have found a lot of companies using our pictures illegally: if a corset doesn’t say it’s What Katie Did, even if it uses our picture (and especially if it’s cheap!) it will be counterfeit.

 

Sophia is our most popular overbust style, ideal for modern figures...

An evening out

If you decide to wear a steel boned corset for an evening out it’s really not going to have any effect on your torso, apart from giving you a delicious waistline of course! With anything new it’s always best to have a trial run and this is especially important when wearing a corset for the first time. Please ‘practice’ wearing it for a few hours before your big event. Whilst it might have felt comfortable for the few minutes you initially tried it on for, it might start to become uncomfortable after a couple of hours. By having a trial run or two, your body will have time to get used to the feel of being corseted and you’ll know how tightly you can comfortably lace making amendments if necessary (for example, if you think you will become uncomfortable then don’t lace your corset tightly until you arrive at the event - and remember you can always loosen the laces later in the evening as long as your dress allows it!)

A little light training

If you would like to define your waistline a little then this is possible by wearing a corset on a regular daily basis. Your body will soon get used to the feel of being tightly hugged and you will be gradually be able to pull your corset in tighter. If you are looking to wear a corset on a regular basis we recommend you select an underbust style as this is less restrictive on torso movement. We also highly recommend our Baby corset which cinches the waist but, due to it’s small size, doesn’t restrict the rib cage and is ideal for modern lifestyles. If you do wear a corset daily then your waistline will gradually reduce although it will return to ‘normal’ disappointingly quickly when you stop wearing.

Your rib cage

All corsets will put some pressure on the rib cage and there are some rather extreme diagrams from the 19th century showing how the rib cage can be distorted. Whilst this is not a myth (modern day tight lacer Cathie Jung has been x-rayed in her corset and yes, her ribs are distorted) you have to tight lace seriously and over time for your ribs to be effected. It is also worth remembering that the skeletal system is very adaptable. The rib cage expands during pregnancy, with some of the internal organs being pushed upwards to allow room for the baby. After pregnancy, over a period of months, the skeleton returns to normal.

Your muscles

If you have a bad back then a corset can be great as it supports the back bone meaning that your muscles are under less stress: but this also has it’s disadvantages. If you are intending to wear a corset on a daily or near daily basis then you do need to consider your back muscles which will require extra exercise to keep them strong. Ask your gym/yoga/pilates instructor to recommend some exercises to work on your back muscles. If you do not have a gym/yoga/pilates instructor and are considering light body modification (which is what regular corset wearing is) then maybe you should think seriously about finding one.

 

Cathie Jung, with a waist of 15 inches!

Serious Corset Training

To achieve the most dramatic result takes time and discipline. We’re talking wearing a corset 23 hours a day, 7 days a week. This is the dedication required to attain a waistline like that of Mr Pearl and Cathie Jung (both current day tight lacers). Serious corset training is not to be taken lightly and What Katie Did corsets are most definitely not suitable for serious corset training.

If you are even considering serious waist training you need to seek out others who have tight laced (Google Spook and Cathie Jung who tight laced for a few years with dramatic results, unfortunately there’s not much about Mr Pearl who is a very private person) and read about their experiences. A made to measure corset is a must for waist training. Do not even consider using an ‘off the peg’ corset to waist train as you need one tailored to your exact measurements. I am happy to recommend a bespoke corsetier on request (katie@whatkatiedid.com)

Further Reading

Find out more about Dita Von Teese and her love of corsets in her book: Burlesque and the Art of the Teese / Fetish and the Art of the Teese which is packed with fabulous pictures and advice.

For more serious reading check out The Corset: A Cultural History by Valerie Steele. There might not be as many pretty pictures as in Dita’s book, but you’ll find out everything you ever wanted to know about corsets.

Our thanks to Katie for allowing us to re-publish this article. All WKD images by Tony Rusecki.

www.WhatKatieDid.com

I recently received the following question from a performer based in the Midlands, UK:

“How do you make the jump from middle of the bill to top of the bill, it seems like an impossible glass ceiling?! I know myself and a few performers in the same position have pondered this a lot, be great to hear the opinion of someone who’s actually done it.”

It struck me as an interesting, albeit tricky, topic to address. As I’m always one to seize a challenge, I’ve put together the following thoughts. Whilst I may not be able to offer an indisputable ‘Burlesque for Dummies’ guide, but I can certainly provide subjective reflections…

What makes a good burlesque?

In order to identify how to reach that ever elusive headliner slot, it seems sensible to first identify exactly what it is that the headline act has that the others don’t.

The obvious first reaction is to say they have an ‘x-factor’… but that’s too intangible for me.

I started thinking about the performers who I both know personally and adore on stage. First, it was clear to me that even the best performers have some acts that are stronger than others. So with this in mind, it is clear that these performers don’t have a fail-proof formula for creating a good act, nor do they have a hidden, innate ‘talent’ that predisposes them to creating amazing acts.

This said, I believe the best performers do possess a selection of skills and/or strengths that when combined, make a solid foundation from which to create strong, artistic burlesque entertainment. But what is it about the content of their performances (even if it is only one signature act) that makes them a crowd-pleaser? Why do people want to watch these performers more than others?

I can only speak from my own perspective: I enjoy acts that transport me away from myself. Fundamentals aside, this affect is acheived when the atmosphere created by an an act is clear, simple, honest, heart-felt and warm. During such an act, what I see on stage fills my mind with emotive responses that are strong enough to override thoughts of ‘you’re moving too fast’ or ‘those shoes are scruffy’. This reaction appears to be provoked in me when a performer reflects a muse rich with personal significance.

“What was any art but a mould in which to imprison for a moment the shining elusive element which is life itself – life hurrying past us and running away, too strong to stop, too sweet to lose.”

Willa Cather (1873-1947)

The acts that enchant me are the ones in which the performer prioritises expressions of perceived selfhood and or life-experiences over and above conforming to the ‘rules’ of the burlesque artform.

I’m touching upon a raw nerve within the field of burlesque here and, whilst I may address the innate problems of defining ‘what is burlesque’ someday, the confines of this article is not the place. However, it’s worth emphasising that I believe every individual performer ought to learn about both contemporary worldwide burlesque and it’s nuanced history. When one understands how burlesque has developed over the course of time, one can make an informed decision as to where one wishes to position oneself within this curious artform’s fluid identity. Nowadays, burlesque (in its broadest, worldwide sense) encompasses elements of pantomime, satire, parody, and yet also dance, performance art, striptease and bump-n-grind movement.

Historically the people who performed burlesque may have been lower class, or those-who-weren’t-good-enough-for-the-stage, but times have changed and now the opinion that burleque is ‘classy/expensive stripping’ is commonplace. Whether one believes in keeping the history of burlesque alive, or whether one intends to intelligently play around with the contemporary connotations that the word evokes, the point is that one need not limit one’s creative endeavours by a prescribed ruleset for what does/does not qualify as burlesque. My favourite burlesque artists all push and pull burlesque’s fluid boundary to make what they want to do fit - and I believe this is an approach that more people should adopt.

How to Reach Headline Performance Standard

Perhaps you’ve already found a concept for an act that resonates with you personally – be that a character from a book, a song that you want to express visually, or whatever. Ultimately, it’s up to you to use your own skillset to create an act that’s of high-enough quality to support your artistic vision (or perhaps artistic vision is a skill in itself?!). It’s a bitter pill to swallow, but I believe someone needs to burst the burlesque bubble; sometimes a performer simply does not possess sufficient artistic skills to execute a top quality act. Just like other arts (music, photography, writing etc.) sometimes an artist is simply not good enough. Of course, you can improve your chances by swatting up on your chosen field (reading histories and biographies, watching shows, watching and learning about related artistic fields).

In the section that follows below I outline simple performance areas that, if addressed, can immediately add strength to any act and, hopefully, push the performer a little closer to becoming headliner quality…

Characterisation

One of the biggest weak spots I see in acts is weak characterisation. I often see performers take to the stage and perform as him/her self. Now, whilst ‘being natural’ is fundamental to a degree, ‘being natural’ is a character that must be transposed to the stage in and of itself. Think about the person/character you want to convey to the audience. If you’re hoping to be natural, think a level deeper than this – what part of yourself do you intend to reveal on stage? Are you being sexy? Are you showing the audience how much you love cake?

Outline a precise message for your character and then ensure this message remains consistent throughout the act. It’s not enough to hinge your act on a narrative; i.e. good girl tastes a cookie and then goes bad. One really should make the character first and their circumstances second, thus in the example above, the emphasis shouldn’t be on the qualities of the cookie, but on the reasons why the character eats the cookie in the first place: Is the bad girl present in the good girl from the very start and merely unlocked or underlined by the cookie’s transformative powers? Is the bad girl a character that possesses the good girl – perhaps this possession is ignited when a poisoned cookie is left behind by a jealous co-worker?

Ensure that you keep your characterisation and character development clear throughout the act. It’s commonplace to see a performer focus on garment removal to such a degree that he/she neglects to consider anything beyond revealing the flesh that was previously concealed by the clothing. It’s vital that one also thinks about the disposal of the removed item. Whirling a bra around your head like a helicopter is good for demonstrating a riotous, rebellious character, but ought not to be inserted merely as an attempt to make the audience go wild. In addition, placing a piece of clothing on a chair or table must be carefully executed. One shouldn’t simply ditch the clothing in order to move on to the next section of the act – that clothing is a part of your act right up until the moment you let it go (and even then, discarded costume can occasionally retain a presence on stage after it has been taken off).

Finally, I think any bra removal needs a characterised framework to support it and make it appear like a natural occurrence in an act. A bra removal may be a crescendo to a full striptease, or it may have symbolic meaning within the context of your character’s tale. I honestly believe that the bra removal within any successful burlesque act (involving bra removal!) falls into either of those two categories. It’s vital that you don’t simply remove your bra in order to qualify your act as ‘burlesque’. This ultimately creates a gratuitous and vulgar exposure within an act that may well be stronger without it.

Body Language

Remember that absolutely every inch of your flesh conveys meaning to your audience: It’s like day-to-day body language, but amplified. Use your eyes. Nothing communicates confidence more clearly than eyes that look to the audience, beaming elements of the performer’s soul. Conversely, looking down, looking at your costume, flitting between looking here-there-and-everywhere, or looking at your props all the time seems weak, damaging your character and charisma.

Cheesecake photography and burlesque do not share the same history, but seem to have been grouped together in our post-modern nostalgia for ‘retro’. For me personally, I sometimes feel that cheesecake expressions are used without thought; the performer assumes that including such a face will add an atmosphere of naivete and innocence. But for me, these expressions seem contrived. Furthermore, I read cheesecake expressions as conveying the performer’s familiarity with the history and visual of cheesecake photography, thus actually communicating the opposite of innocence; as much as we like to desribe cheesecake images as ’sweet’, there’s still something intrinsically sexual about them. If you are using cheesecake facial expressions, do so with an awareness of the inherent irony they carry.

Don’t forget your posture, nor use of your hands. A fan dance can be let down by clumsy footwork or knees that knock together just as the potential of an atmospheric act can be seriously hindered when a performer leaves her/his hand loose at her/his side. On stage, move with all of your body. Rehearse infront of full length mirrors (patio doors at nighttime are great make-shift mirrors!) and, if you have the resources, video your rehearsals. Watching yourself move will help you to identify any parts of your body or any (non)movements that weaken your act.

Structuring Your Act

Many performers use supports to structure their acts, but if you can learn to create an act without them, you’ll find you naturally compensate for their omission with a stronger physical performace. Examples of such supports include:

Choosing a soundtrack for your act because it’s title or lyrics reflect your narrative/character. This often results in sloppy or lazy costuming/characterisation and limits the potential affects one can create audibly as the tone and atmosphere of the act’s soundtrack is prescribed by the available and suitable songs.

Communicating your character through excessive use of props. And beyond this, in my opinion, any prop that needs to be ‘read’ by the audience ought to be eliminated unless a fundamental characteristic of the prop is that it is read, e.g. subtitle cards used within context. Too many props make for an act that relies upon showing things to an audience to create a narrative or a purpose to the act when often the same narrative may be achieved through elements of performance (i.e. heat can be illustrated through body-language and breathing, which can often be more evocative than an irritated character thumping a broken fan).

When you’ve selected an appropriate number of props, ensure that the props support YOUR presence on stage, rather than resulting in you presenting your props to the audience. I often see performers open an act by setting the scene, using props to convey the situation a character has found her/himself in. Whilst this is a useful way to open an act, don’t ever forget to move on stage. An act which opens with a performer standing still, rifling through a bag or reading a newspaper is not strong. In such acts, it looks rather like the performer spends more time watching movies than watching live theatre. By this, I mean that these performers seem to forget how important it is to create her/his own movement – it strikes me that such performers re-create camera movments by walking in small semi-circles, holding a prop at arms-length infront of her/himself rather than engaging with the prop using stage-suitable movements.

 

Be careful if using alcohol as a shortcut to a character transformation. I use alcohol in my own ‘Hey, Bellboy’ act to emphasise my character’s anarchic, curious and nosey behaviour. But so often I see performers drink within their act, and surprisingly, it’s often at the very start, to communicate lost inhibitions. I rarely see anyone actually parody the state of being inebriated or provide a reason as to why the character is drinking alcohol in the first place. Usually a type of alcohol is chosen to compliment the character (i.e. rum for a seaman, vodka for a Russian, wine for a broken-heart, champagne for a showgirl), but that’s about the extent of the connection between the character and the act of drinking. Usually the motivation for the character drinking becomes clear AFTER the drink has been drunk (and even then the motivation apears to belong to the performer more than the character - i.e. the motivation is to justify a striptease).

To create a strong narrative act, one must first provide motivation for the character to drink (i.e. they are wine tasting) and if a striptease follows, the motivation for the striptease ought not to be simply ‘the character is drunk’. Think more about what kind of drunk your character is – are they a horny drunk? A violent drunk? A loud drunk? An unbalanced drunk? How does your striptease relate?

Final Note

Be very savvy when you opt to perform a burlesque ‘classic’ – i.e. a balloon pop, fan dance, wings of isis act. Many performers add such an act to their repertoire in order to attract more bookings for performances to non-burlesque audiences. The danger in doing this is that the motivation for the act becomes monetary or professional exposure. As such, the content of the act itself suffers. Don’t get me wrong, I’m not advising against taking commissions, but I am saying only take the commission if you believe you can do it justice.  The reason that many burlesque standard acts have a reputation for being boring and samey is because performers put them together in a ’safe’ manner. Fan dances are regularly performed to tracks from ‘burlesque striptease’ compilation CDs, and balloon pops tend to have a swing-band accompaniment. If you’re going to do a burlesque standard, but your own spin on it – brand the act as your own. Indeed, when making a fan dance your own, you may find my up-coming article on making a fan dance your own a very useful starting point.

Every performance you give is an audition, regardless of the occupations of the audience members. Reputations are built upon audience members remembering you and your act, not upon web-presence or branding exercises.

Success is dependent upon what you do one stage: be powerful, be memorable, be YOU.

Click here for more Beatrix…

(Image of Beatrix ©2008 Cherry Bomb Rock Photography)

Germany loves burlesque, but excitement is at fever pitch right now, thanks to two marvellous shows!

Black Flamingo at the Wintergarten Variete Theatre in Berlin has enjoyed a fabulous run so far, which concludes in January 2010 (still time to see it folks!) and in Stuttgart, The Sugar Blue Revue has just begun!

Black Flamingo

Since 1992, the Wintergarten Variete Theatre in Berlin has been ‘recreating the charms of early 20th Century entertainment.’

The theatre closed its doors early this year - and now it has opened again with a fantastic new show. Until January 2010, Black Flamingo offers a chance to ‘indulge in the vaudeville world of the Roaring Twenties’.

The most exciting additions to the cast for us are burlesque bombshells Honey Lulu, Trixee Sparkle, and the legendary Catherine DLish.

All three look so polished and assured in this production, each with their signature acts and style.

Catherine’s presence in Europe is especially exciting. Her captivating performances, magnificent stage constructions and sumptuous costumes inject star quality into every production she is involved in…

Images ©Wintergarten and Sonja Schönberger.

[View with PicLens]

We spoke to the three burlesque starlets about their experiences so far in Berlin…

Catherine DLish

“I am so pleased to be here at the beautiful Wintergarten Theater in Berlin (Brrrrrrrrrr-lin!). It is a gorgeous place to call home for a few months!

This is a wonderful group of people to work with, and we’ve been having a super time living out a sort of ‘Groundhog Day’ daily life. With the show going on eight times a week, it is both a little bit surreal and a lot of fun to pass the same folks in the same place (making lots of ‘burlesque-ee jokes’) every day.

We have a great cast of very good-humored people. There isn’t anything much more fun than doing shows in an old historic theatre, and I am very happy to have been invited to be a part of the Black Flamingo show…“

Honey Lulu

“Black Flamingo is the ideal show I’d like to go and see: a good mixture of circus, burlesque, music and comedy. All the acts in the show are strong and work very well together. It’s so inspiring to be working with such talented people who are lovely offstage as well; we have fun on stage and always try and bring something fresh to every show.

Evi and Leu, musicians and MC’s who keep the show together, bring incredible energy on stage every night, they’re very creative and I love the song they wrote for the show.

Catherine D’Lish is a true queen of burlesque, she dazzles the audience every time with her beautiful and sexy spider web and birdcage acts and is a joy to watch. Trixee Sparkle is so fun and a good friend; she injects energy, punk attitude and glamour to the show with her very original ‘Queen’ act.

I feel very honoured to be part of Black Flamingo, both on and off stage…”

Trixee Sparkle

“Black Flamingo is a truly fabulous show bursting with talent from circus performers. Jugglers who undress, hilarious comedians,  talented and amazing singers and hosts of the show Evi and Leu that hold it all together and wow the audience with their singing and personas.

It is an honour to work with the one and only Catherine who is truly talented and true to her artform. She puts on stunning and beautiful shows every night - her bird of paradise and spider acts are stunning. I think the audience is spell bound throughout and she is a lovely lady to have around.

I love working with Honey Lulu who is truely fabulous and puts on a beautiful show in her teacup in her own dazzling style, wowing the crowd.

I would say that there is no other burlesque show quite like this - with the variety of acts it is just amazing…”

If you can make it to see this show - GO! There are so many reasons to buy a ticket - there really is something for everyone.

The theatre and set are gorgeous, the energy is high and the variety talent top-notch.

Honey and Trixee are a delight - charming, beautiful and engaging, and the opportunity to see Catherine - a true burlesque master in action, should NEVER be passed up!

Click here for more information, and to see a video about the show…

At New Year, we will announce our TOP 50 Burlesque Stars for 2009 - as voted by you!

This isn’t supposed to be a chance for a big voting campaign - it’s simply a chance for you to nominate the people who most impress, excite, inspire or entertain you. You must nominate FIVE, with the option to nominate up to TEN.

You can nominate stripteasers, variety performers, a host or emcee, teachers, musicians and singers, producers, personalities - as long as it is an individual person, past or present. Anyone who you think makes burlesque brilliant!

We will count up your votes, and then count down from 50 to 1 at New Year.

Just a bit of fun - and a chance to celebrate our community at the end of another fantastic burly year…

VOTING HAS ENDED - THE COUNTDOWN BEGINS VERY SOON!

Michelle L'amour (©Mark Berry)

Michelle L’amour is someone I find endlessly fascinating. She is warm and charming to speak to, with a delicious chuckle and composed demenour. But when she takes to the stage, a sexual power and captivating energy exudes from her; whether she’s floating across the stage with her fans, or whipping the audience into a frenzy with a high-energy striptease. She expertly provides what I refer to as ‘exquisite escapism’.

I still remember the first time I saw Michelle perform in person. It was her dreamlike homage to Sally Rand; thick soft white fans and short blonde curls. The entire place fell silent, and I felt like a little girl again - wide eyed and open mouthed, witnessing a beautiful burlesque fairytale. (You can watch this routine, and many more of Michelle’s acts, by clicking here.)

We finally sat down together to record an interview on the Sunday of the Burlesque Hall of Fame Weekend in Las Vegas this year. We had a new Reigning Queen of Burlesque, and Michelle and Franky were newly married…

H-M: So - Mrs L’amour! Have you decided - is it going to be Mrs Vivid or Mr L’amour?!

M: *laughs* You know, I think we’re just going to pick a new name -

H-M: A new name?

M: Yeah, I think we’re going to go with Everleigh. I mean, I’ll still be Michelle L’amour, but I think it will officially be that.

H-M: So what did you think of last night, and the results?

M: I thought last night was… huge. A lot of top talent, many people applying to get in, and those that got in to the Miss Exotic World/Reigning Queen category - a really tough decision!

I thought the results… Some were questionable *laughs* But I thought Kalani did a great job.

H-M: I think most of us agree - I was talking to Catherine and Jo and we agreed that the standard was just sickeningly high! There were so many potential runners up to Kalani…

M: Yeah, and it’s good that it was that close, that it was that good, all around.

H-M: And you were happy with the main result, that Kalani won?

M: I predicted it, I saw it coming, but it was really exciting … I think she will be a really good ambassador for the Burlesque Hall of Fame for sure -

H-M: Yes I think she’ll do them proud. And it’s long overdue -

M: Yeah -

H-M: So that’s fantastic.

And of course your Chicago Starlets competed!

M: Yeah they were so cute!

H-M: Was that a routine you choreographed?

M: Yes I choreographed. It was originally choreographed for four, and when I brought it up - ‘Do you guys want to apply?’ We built on the four and made it fourteen - a gaggle of girls, it was really fun!

H-M: And obviously you’re stupidly proud of them…

M: I am, I’m a huge burlesque mama. When they came to me, many had never danced - they have come so far, it’s so cool…

H-M: Are a lot of these girls very new to it, or is it the seasoned group that have competed here?

M: These girls have been doing it for three years so they’re pretty fresh, but not all of them have been doing it three years; some of them it’s their first year -

H-M: And it’s not their first BHoF weekend, is it?

M: For some of them yes. A lot of them came for the first time last year, and they came back and then some! So it’s been really exciting.

H-M: You must be really proud of what they have achieved…

M: Yeah I just… When I started coming here I was the only one here from Chicago and I just really wanted to bring that recognition to Chicago

H-M: I think it really is recognised now as a burlesque city - a burlesque dot on the map…

M: Yes, I really wanted Chicago to have a face at these national festivals and competitions, so I am really proud.

(©Don Spiro)

H-M: You won [Miss Exotic World] yourself in 2005 - you must have memories of what that experience was like.

M: Yeah!

H-M: Did you have a shellshocked ‘Kalani’ moment?

M: Yes I was! And I think everyone else was too, because noone really knew who I was -

H-M: I was going to say - as far as I remember, was it two or three years before that when you did your first public striptease?

M: Yes, yes. My first striptease was in February 2003, so it’s been a little over six years now.

H-M: So it was a serious achievement to win that early on - most people seem to build up to it…

M: Yeah, I went for the first time in ‘04, and then I won in ‘05, but there was definately a lot of, ‘Who the hell was that?’ *laughs* ‘Who? Chicago what?’

H-M: It’s so funny because the Snow White routine that you did has now become such a classic - many young and new performers I have spoken to, if you say ‘Michelle L’amour’ they’ll say, oh the woman with the amazing fans or the Snow White girl - the routine with the apples!

You took something and put such a great spin on it -

M: That’s exciting, thank you.

H-M: I’ve been talking to a lot of the really established stars and legends this weekend - and there has been an emphasis on the Burlesque Hall of Fame, on its continuity, that it gets support. What would you personally like to see happen and develop; do you have any ideas of what you would like to see happen?

M: I would love to have an actual place for the museum; I’ve seen something that they’re working on and I think that’s the ultimate goal. But I just think it needs to be out in the public a little bit more -

H-M: Public awareness -

M: Yeah… I think if we really want to keep this going and have it survive we need to open it up a little bit and not just make it such an insider thing, you know? I would just really love to make things a little more public…

H-M: I think this is a year where it has had a lot more exposure - I think it’s exciting that the mainstream are catching onto it - it can only be a good thing I guess…

M: Yeah, you know if it’s treated correctly I don’t think it will spin out of control if it hits the mainstream. I think if the art is treated correctly then the mainstream will treat it as it should be.

H-M: And would you agree this is where the highest calibre of burlesque is to be found, that it encourages excellence in people?

M: Absolutely, this is the Mecca of burlesque, this is the pilgrimage you make every year. And the talent has grown hugely, the level of performance is topped every year - it’s really exciting.

H-M: Just when you think it can’t get any better someone does something amazing…

Michelle: The Early Years…

Baby Michelle...

H-M: I think out of almost anyone I can think of, you have got to be the most comfortable person with their body and nudity that I know -

M: Wow, thank you - it’s huge to hear that!

H-M: So, were you always that uninhibited? Were you brought up in some kind of ‘naked house’?!

M: Oh goodness no!

H-M: Or did you just… Like you said, you were so shy, so you obviously learnt to be comfortable somehow…

M: Yes I did. I grew up in a born-again Christian home, very… I don’t know if strict is the right word, but a guilt-ridden house, a really unhappy house. And I don’t really know how I got here.

I think it was the first time that I did anything like this, just got that little taste of it, I just wanted more, and more, and more. And the costumes got smaller and smaller… The thing is, I don’t really enjoy the costume process; it’s like a nuisance to me, I don’t really like it! *laughs* Which is why I don’t wear a lot of costumes! And that’s how I became ‘The Most Naked Woman’. I envision the costumes, I like coming up with ideas, but as far as myself executing them … I really do not enjoy hunching over and rhinestoning my G-strings - if I had someone to do it for me that would be great! It would be awesome, I would be set!

H-M: Once the costume comes off, you do seem to come into your element! On Friday - it was when you were right down to the bare essentials that the real Michelle magic seemed to happen. Am I right in my perception? As if you think, ‘right, I’m at that point now, now I can work it’?

M: Yes, I prefer it. The worst part of my day is putting my clothes on. I can’t stand it. *laughs* I will be happy in tiny G-strings and heels - everything else is just annoying to me!

H-M: It sounds like typical psychobabble, but do you think kind of environment and upbringing caused or encouraged this path?

M: Well noone else in my family is like that - my brother and sister aren’t.

H-M: Did it feel like a rebellion to you - forging your own identity… Anything like that? You know, that’s the kind of common thing people might think - you’re a product of your upbringing…

M: I’ve thought of that. I’ve thought about that, but I never really felt like, ‘I’m going to do this and rebel’. I never really thought about it, it just felt like that’s what I was supposed to be doing.

H-M: It felt like a calling, a natural progression -

M: Yeah, it is.

Young Michelle

H-M: And you’re well educated! I’ve read different things; one source says you have a degree in acupuncture!

M: I don’t even know where that came from! Someone said that to me and I was like, ‘what are you talking about?’ *laughs*

… It was finance. I don’t know anything about acupuncture! … Someone said they read that on Wikipedia - I guess if you’re going to make stuff up that’s not bad. Can you imagine me doing acupuncture?!

H-M: I can’t believe there’s a degree in it! Is there?

M: I don’t know! *laughs*

H-M: But it’s like two completely different worlds - finance and striptease. I wondered how they collided - surely you must have had some different plan or vision of your future, or was it more of a ‘I want a backup’?

M: No, I didn’t want to do it at all - I hated it.

H-M: Did your parents say, ‘you’re going to go to college!’

M: It was, you know, ‘you have to get a real job,’ and I really wanted to dance, that’s all I wanted to do. For my first two years of college I went to a community college, because I had a scholarship there - so I don’t want to go anyway, great I don’t have to pay for it! And I get to go in the city and dance and do what I want to do and teach - that’s what I really wanted. And then I ended up going to the University of Illinois, because the boy I was dating at the time went there -

H-M: As so often happens!

M: Yeah. And he was doing engineering, and he also didn’t think that I could be a dancer, or that I should -

H-M: Oh, how supportive!

M: I know! I mean, I don’t even understand what I was doing at the time. So I just thought, okay, I’m gonna do finance! I was good at math, and I enjoyed it to a degree, you know. But the thought of me in an office is just ridiculous!

H-M: I can’t imagine you in an office…

M: I did it once as an internship - I was a telecommunications analyst, and it was hellish! *laughs* I just don’t understand how people do that every day. No, it’s not me. But I have it, doesn’t mean I know anything about it, because I was choreographing in my head most of the time in class!

H-M: So it was more just a sort of compromise -

M: Yeah, I don’t know. I mean I still danced on the side. It’s not like it made my parents happy… We’ve had a very rocky relationship, and I’ve been disowned from the family three times or so. My mum just started coming back around in the last year.

So, you know, I don’t even know what I was doing - I don’t know if I was subconsciously looking for approval or… I guess I just believed all the hype - that I couldn’t do it, so I just did something else, and then I thought FUCK THAT!

Michelle dancing with Franky's band, when they first met...

H-M: So where was the ‘fuck that’ turning point? What made you think, ‘you know what, I can do it, I’m going to do it’?

M: The ‘fuck that’ turning point was: I was working in a candy shop in college called Inside Scoop, and I heard on the radio that there was this dance audition for an agency, and I said, ‘ahh, im bored out of my mind, I haven’t auditioned in a while, so maybe I’ll just go’. It was like one of those really scammy talent things, you know, but I just needed to get out and do something.

But that’s where I met Franky, and Franky saw me dance, he saw me audition. I did this aggressive rock dance, and at the time he had a rock band and wanted to do this Vegas show with this industrial glam-band, but with dancers and stuff in the back. So he approached me about choreographing and doing that, and I said sure, and that’s how we started working together. And then the first show that we produced (it was like the day after or week after or something), about a month before graduation, I thought, ‘this is what I’m gonna do now’.

I cancelled all my interviews; I had all these travelling interviews and I just called and cancelled them and just went for it. And that is totally crazy, but that’s what happened. So instead of going to make money and a living I chose to suffer for a little bit!

Michelle: The Dancer…

(©K Leo www.mirthandbeauty.com)

H-M: I’ve read that you studied countless forms of dance from your teens and I have a couple of dance-related questions. One is, do you think that a background in dance or a pursuit of dance for performers is an essential core part of burlesque performance?

M: I think that because this is such a physical and visual art that it’s really important that you know how to move your body. I think that taking it from a theatrical point of view is totally fine, however even in theatre you need to know how to move your body, and I think that applies double when you’re dancing naked. You can see everything! I really think it’s a big part of it.

H-M: So you would advocate performers pursuing some form of movement class or study some form of dance…

M: Yeah it’s good, it’s good for you, you know? Gosh, if you can expand on your skills then that’s great.

H-M: This might be a difficult question, but do you consider striptease, burlesque, as essentially a dance medium?

M: Goodness… That’s a tough one! The hard thing that I see with dancers is that they can leave the tease out of it and it just becomes a dancer taking her clothes off, which is not interesting. If there’s no connection… I don’t know how else to describe it.

H-M: So I suppose then the opposite could be true as well - emphasising the tease aspect but not concentrating on their choreography and placement, finesse and all those sorts of things…

M: Exactly, that’s the trick - the trick and the art of it is blending those things and finding the right balance of everything and that’s what makes it something special; when those things happen together.

H-M: So when did all your dancing turn into striptease? What caused that transition, that new focus for you - was there a key moment?

M: Before I was even dancing! It was always there. It was always there, even before. I didn’t take class until I was fifteen because I was way too shy to do anything in front of anybody -

H-M: See, I find that so funny, knowing you now!

M: Yeah! *laughs* … I started first playing the violin, I played for ten years, but that was easier for me because I could hide behind the music. I could hide behind the music stand and the violin -

H-M: Like a prop -

M: Yeah. It was like my first little tiptoe into public performance. But with the sexy side of things, I remember even before dance that I was just really interested in how to be sexy and beautiful. I would stand in front of the mirror a lot and try to figure out poses that I thought looked cool, and I don’t really know why *laughs* but it’s come in handy so that’s good! Yeah, so it was always there, I just had to do it!

“I approach sexuality with intelligence, and I think that’s something that isn’t done and I think it should be done. I don’t think it should be denied, I don’t think intelligence and sexuality need to be split up. I really hate it when women dumb themselves down to be sexy. It makes me crazy…”

H-M: I want to come back to Franky and your relationship, but I also just want to come back to the issue of being comfortable with your body and your own sensuality. Do you think 21st Century women are almost afraid of their bodies and their sexuality?

M: Absolutely. Yes.

H-M: I think that maybe they are so conscious of being judged or evaluated on that level alone, maybe objectified, and so maybe they feel that they constantly have to move away from the sensual and the erotic and prove that they are something else, that they have more levels, you know - a substantial part of themselves…

M: Yeah, it’s really hard for me. I mean, as a teacher I see it all the time, but it is encouraging that it can change. But I do see it, often, and what’s happening is, the women aren’t really being true to themselves as women, they’re denying all of that. It’s a gift to be a woman, and that should be exciting and you should use what you have, you know? And to see as twisted and squeezed out and become this awkward sexual thing where it’s not… I mean, I don’t get it! And I feel bad for them, because it just doesn’t have to be that way … So I strive to change that.

H-M: You’re often asked to address women on self-esteem issues. When you teach burlesque, is there something else at the heart of it that you are really trying to teach and get across?

M: Well, yes. I mean, underlying - I don’t wear it on my sleeve but underlying, it’s just finding that comfort level with your body, knowing what your body can do, knowing how to play up those parts of you. Even just walking and standing up straight, and being proud and presenting yourself and not apologising for it. I think that is so difficult because you’re not taught that, and I have trouble with that still - I will apologise for myself behind the scenes and in many conversations with Franky. I’ll be like, ‘ohh sorry I didn’t mean to do that’ -

H-M: Yeah, I say sorry for saying sorry!

M: Yes exactly, exactly. It’s kinda silly, and I struggle because I don’t want to be arrogant, but also it’s that confidence and arrogance border.

H-M: Obviously not all of the women in your classes will go on to be performers, but there’s so much they can take away from it without having to go to that stage…

M: Yeah, and I hear so many times how much I’ve changed people’s lives and that is really exciting.

H-M: That must be really rewarding.

M: In times where I’m just feeling really frustrated and, you know, ‘why do I do this?’ Someone will say something like that and THAT’S why.

H-M: It reminds you why you do it.

You do have an obvious, strong portion of female fans; I remember reading that one woman got so whipped up and excited at one of your performances she just hurled her panties onto the stage -

M: Yeah.

H-M: That makes me ask - why do you think you have avoided perhaps threatening or irritating women? Some overtly sensual women do - do you have any idea why or how you have avoided that happening, or for that matter, why women are threatened by eachother at all?

M: I think that I have avoided that, for the most part, because I approach sexuality with intelligence, and I think that’s something that isn’t done and I think it should be done. I don’t think it should be denied, I don’t think intelligence and sexuality need to be split up. I really hate it when women dumb themselves down to be sexy. It makes me crazy.

So, I think that’s part of the reason, but I also think that I have an accessibility to me, which I struggle with, because sometimes I don’t want to be so accessible - I just want to be this ‘goddess’ thing, you know?

H-M: With an unattainable mystery!

M: Yeah! Like, I am - you wanna talk to me? Great, talk to me! You know, I’m not scary. I think I just have this accessibility because I teach all the time and it’s there, and I want to help people - maybe people just feel that from me?

H-M: I think you definately have a ‘human’ quality to you; you have a past, you’ve had sadness and difficulty in your life, and everyone likes a story - something they can relate to in a person…

M: Yeah… I’m really about coming from a genuine place - that’s really important to me.

H-M: Sincerity -

M: Yeah. I’m just… I’m not about the fluff, you know? I really like substance in my sensuality.

Michelle and the Mainstream…

(©Pez Photo)

H-M: On from that: I remember when I watched you on America’s Got Talent - you got a really cool reception from Brandy. And we all thought, well maybe it’s just an act, she’s playing it up. But do you think she actually represented a viewpoint that genuinely disappoints you - do you think that was a genuine negative response?

M: Yeah, it was really frustrating, and it was, it was genuine from her; that’s how she was behind the scenes to me, she was nasty. And, yeah it is upsetting, but I just… It was weird to me that even in the Knight Rider one she didn’t even see the comedy of it, you know?

H-M: I think, my thought was that she didn’t want to see it - she didn’t want to see that there was any merit in it, perhaps.

M: Yeah… But yeah - I bit my tongue! *laughs* I bit my tongue a lot!

H-M: That’s because you’re classier than she is, obviously!

How would you like the mainstream world to see burlesque, if it was up to you to have a key definition set down? What is it essentially about for you?

M: It’s the exaggeration of femininity and all that is woman. And I think if it’s represented in a classy and intelligent and humerous way, I think it’s very accessible to people. And it’s something that’s kind of threatening, because a lot of sexuality that’s out there and that’s being represented in the mainstream is cookie cutter, it’s manufactured, it’s not genuine - so it’s not hitting people at a personal level, it’s hitting people where they think they should be hit, you know? So when they see something that’s actually affecting them it’s kind of threatening, I think. So I’m hoping that the audience gets educated and they know better what they want.

H-M: Going back to America’s Got Talent for a moment then - did you do that for fun, or did you do it to consciously represent the community? Did you have that in mind?

M: No, no I didn’t - I was asked. I thought it was stupid! *laughs* I was asked many times to go and audition for this show, and I just thought it was the stupidest thing! Like - I’m gonna go on NBC and do my striptease? Are you kidding me? Do you even know what I do…?

So finally they contacted me again the last day they were in town and I was like, ‘Fine. Fine, I’ll just come. And you can see!’ *laughs*

So I went in, I didn’t wait in line, I just went right in and did my Snow White act - to the fullest, and did all my interviews in my pasties and G-string. And I got a call [during] an Exotic World … they said, ‘we’re going to have you come to LA in a couple of days, and you’re going to do your Snow White act, but we need you to change the costume - legal legal legal’ etc. And I had no idea that thjs was going to be filmed, I just thought ‘cool - free trip to LA!’ So I went, and then I saw what was going to happen and thought ‘Oh. Okay, alright… Sure - I’m the controversial bit in the show, I get it, I get this’. But I did, once I got there, once I realised what was happening, I felt a responsibility to represent the burlesque community well, and I had so much anxiety about it afterwards…

H-M: So it hit home later on - ‘I have a bit of a responsibility here…’

M: Yeah! Because, I knew that no matter how good an interview I did, or what my performance was like, they can edit it to make me look like the dumb stripper - I knew that that was a total possibility. But honestly I thought they treated me perfectly, as far as what they put in of my performance and my interviews. I felt good about it, I felt I didn’t look stupid, you know? I was proud of it -

H-M: No I don’t think you did, I don’t think you did at all.

M: But you know, it’s really hard - they mess with you. So now a lot of girls tell me every year, ‘hey, I’m going to audtion for America’s Got Talent’, and I’m like, ‘yeah okay!’ *laughs*

H-M: Good luck!

M: Good luck! It’s kinda hellish, but okay! As long as you are realistic about what you expect to happen then… That’s fine!

World Domination…

Ready to Rule the World... (©Pez Photo)

H-M: You have this franchise, this empire! The L’Amour Group - you’ve got a video, you’ve got a photo book, you do shows, you run classes… Is burlesque very much a business to you - do you think about it in a very businesslike way?

M: This is my living, so yeah I take it seriously. I want to keep this art going - I want to still be able to perform, and yeah I have all these things, but I have all these things because noone is going to do them for me if I don’t do them myself, you know? Noone is going to create big shows in Chicago if I don’t do it! So I don’t really have a choice. Yes, I have a business head for sure - that is my degree, I learned a little something! But I don’t think it’s bad; I always feel like there’s there’s this little nugget of art versus commerce - you know, ‘if you make money doing this then that’s bad!’ Well the good news is that I’m not making any money doing this, but I’m certainly trying!

I’ve opened up my own studio and I have a production company… It’s a lot of work, it’s difficult…

H-M: I interviewed Dita a few months ago, and we touched upon this, because she gets a lot of flack from people who say she’s sold out and she’s not in it for the art, she just wants to sell her underwear line and her books etc. And I think… It’s important to me anyway that the performers that I admire and respect get the chance to explain that that’s actually not what it’s all about -

M: Yeah…

H-M: I don’t know if you agree, but I don’t see why good performers should be hesitant about doing that -

M: Yeah, exactly. Nowadays there is no circuit, there’s nothing - there’s no events that you can just jump on and just go ahead an make your money every week and do your shows… You have to have your hands in many pots, you know? You have to able to do more than just one thing if you want to do this as your only job - you have to do a lot.

H-M: I get the impression that some performers or some people almost look disdainfully on it - there’s almost something glorified about the poor, poverty stricken performer who ‘does it for the art alone’ and so anyone who wants to make their living…

M: Totally! And I feel that from people, it’s so frustrating. Because I’m just trying to bring this to people.

H-M: In a way it’s silly because all anyone else is doing - someone who loves their job - they’re doing something they love, but for their living, but for some reason with art and performance it’s different…

M: Yeah! I’ve always just really questioned that whole idea. I mean, wouldn’t you love to make money from your art? Isn’t that your dream? I suppose there’s honour in living in a box and creating great art, I suppose! But, goodness - we have to survive, we have to eat, you know?

“I think it’s really important to really respect and appreciate everybody that you’re working with, all the way down to the person that cleans your dressing room…”

H-M: I’m sure a lot of people who work in office jobs all day would much rather, you know, be playing electric guitar or whatever it is they dream of doing!

M: Sure exactly! We don’t always have to be the tortured artist - it doesn’t necessarily make it good art!

H-M: Absolutely…

Do you enjoy producing and choreographing as much as performance? Is it an equally enjoyable part of your life?

M: Let’s see… Ultimately if I could just perform…? I think that would be my ultimate thing. Yes, I love choreography - I do choreography for myself and the girls, but sometimes teaching is a bit of a strain, because it’s a bit more emotionally draining for me -

H-M: You’re quite invested in the people you teach -

M: I’m very invested, and it’s a lot because sometimes it can take a lot from you. And it’s hard, because I also have the performer side of myself and I have to feed myself too, so it’s a little conflict in me, you know? Producing is good - it’s really stressful -

H-M: I imagine you’ve learnt a hell of a lot producing your own shows…

M: I’ve been producing as long as I’ve been performing; there would be no way I’d be doing burlesque if I wasn’t producing my own shows, because there was nothing happening in Chicago, so we made it happen. So it’s come easier now because I have more experience etc. Still, it’s great just to walk into a show that I’m not producing and just go onstage and do my thing - that’s great! *laughs* Because I don’t have to worry about ticket sales and paying the rental to the theatre and paying my performers - I don’t have to worry about any of that!

H-M: Do you think it’s important for a performer to be aware of the production and everything going on around them?

M: Yeah, I think it’s really important to really respect and appreciate everybody that you’re working with, all the way down to the person that cleans your dressing room, if you have one! I think my favourite people in the theatre are the tech guys - the lighting guys. I think they’re awesome. You always want to treat your lighting people well…

H-M: I’ve read some really funny things about you - you have your own star, you have your own cocktail, your own colour - L’Amour Blue is an official feather colour! Is it amusing to be like a living brand, do you find it surreal?

M: It’s just ridiculous to me. Franky bought me the star - when he was courting me! *laughs* But yeah I don’t know, I guess I don’t really think about that very much. I wanna take over the world!

The Everleighs…

(©Don Spiro)

H-M: So, you met Franky while dancing for his band… What has he brought to your life, in both the business partnership and the personal partnership between you?

M: It is great and horrible to work with the person that you are involved with! But he is… He is fantastic; I don’t know that I could really be doing all that I’m doing if it wasn’t for him. Sometimes I struggle with that because you don’t want to be the woman leaning on the man! But I think it’s a really equal partnership and we work really well together, and we have such a passion for what it is that we do. I think it’s perfect…

H-M: Did you guys always plan to get married on stage?

M: No! He proposed to me onstage five years ago. And I was the one dragging my feet! *laughs*

H-M: Someone was only saying to me the other day, ‘Franky and Michelle are looong overdue!’ Everyone is really pleased that you guys have got married…

M: Yeah, we’ve been together for seven years and he proposed to me on stage and, you know, there were a lot of issues. I wanted him to propose to me, and then when it came to the idea of getting married, I had all these problems with my family, I had a really hard time being comfortable with the word ‘wife’ - I just didn’t like how it felt, and I just had a lot of things to get through personally before I felt like I could do that. And then this year rolled around, and it was like,

‘Hey, what do you think about doing something at Exotic World?’

‘Yeh, sounds pretty good!’

Everything felt right, and we kind of officially decided at the beginning of May that we were going to do it, so we planned everything for about a month, which is par for the course!

H-M: I loved that despite it initially seeming like a performance, it had the feeling of a really intimate ritual. All the washing and cleaning and dressing you… But again, it’s all sincerity with you; and I think a lot of people that didn’t know, who thought it was part of a whole performance eventually realised that it was a truly genuine moment. Everyone felt so moved that you had decided to share it with us. Was that part of it? You wanted to share it with your community and the people you knew?

M: Yeah I did, just because this place is really special to me, so it was perfect for us to do it that way…

H-M: … Well, you’re such a popular couple, and everyone is so delighted for you. I know people would love to hear more about ‘Casa L’Amour’ in our ‘Couples Special coming up!

M: They call it ‘VivAmour’ at home - the Chicago Starlets say they’re going to ‘VivAmour’ -

Franky: Like the mansion - like a circular driveway, with valet -

H-M: Little bay trees -

M: A moat would be awesome - yeah. *laughs*

H-M: Maybe someone will buy you one as a wedding present, pay for the installation!

M: Hey, that’d be good!

At this point, we concluded the interview and went to freshen up for the Sunday night show…

My thanks to Michelle and Franky for their time and generosity.

www.MichelleLamour.com

]]> http://www.pinup.me.uk/michelle-lamour/feed/ http://www.pinup.me.uk/khandies-kholumn-part-10-imitated-inspired-stolen-copied/ http://www.pinup.me.uk/khandies-kholumn-part-10-imitated-inspired-stolen-copied/#comments Thu, 15 Oct 2009 17:34:10 +0000 Khandie Khisses http://www.pinup.me.uk/?p=4473  

(Khandie graphic by Em Eato)

Ok so we all dread it - we work for decades (ok maybe not that long) on an act. We rhinestone the costume until our fingers are stumps, we bump and grind until we shuffle old women. Then finally the day comes when we debut the act. It goes well. We love it! HURRAY. We love our new act.

But then disaster - someone informs you that the act exists already. AAHHHH Disaster! Surely not? This act that you have slaved so long and hard over, the tiny idea that has now manifested into a vision of feathers, rhinestones and glitter! SURELY NOT!

Ok I have yet (touches wood) to have this happen to me, but I have known it to happen to others. I have however been the act that already existed; which then plays on my mind - did she copy or imitate, or was she simply unaware that my act exists? Doesn’t it enter people’s minds to research? Okay, so not all acts are on the internet, but it makes me laugh when well known performers are copied.

If you think you may have an act similar to someone it is a hard subject to approach with them. I have on occasion used the same music and whilst most performers are aware of musical similarities existing on the scene, only one performer has asked me to change my tune to another. Granted, I doubt this performer owned the copyright to the music and therefore can’t make me change the music, but it is out of respect that I did. I was unaware of the act and must state that neither act was similar albeit the same music.

I believe that some routines will always exist in varying forms, (but this does not excuse copying) such as zombie, cavewoman etc. But it is how you go about it that sets you as an artiste apart from the others. I know of a self-proclaimed burlesque teacher or two who have actively taught existing acts to students! COMPLETE OUTRAGE! Surely a teacher would know better, but alas it appears not. What is worse is that these students are either lead to believe the act is truly unique and continue to perform it or that this is acceptable practice. I can’t quite decide which is worse. But the initial fault does not lie with the student, the teacher should know better.

There are also sadly some performers who seem content in the fact that they are performing others work. Whilst their audience may not be aware, other performers will be. It is not a pleasant thing to do to anyone and is really very disrespectful I feel. One act of mine has been copied and despite informing the performer that this act was created to help raise money for a charity VERY close to my heart, nothing came of it. The whole concept, music, staging, tassels and costuming are the same so it is more than just pure coincidence surely?!  The act is being still being used I am informed and though initially upset by it, I feel safe in the knowledge that some people will recognize it as my work. That’s good enough for me.

If you are made aware of a similar act on the circuit it is not the end of the world. Speak to the performer and ask to see video clips and gain more information/insight. Whilst costuming/comcept may be similar the act may not be.  It is always a good idea to research acts and I mean research! Check the internet sites such as YouTube, Google, Ministry of Burlesque, Burlesque Women’s Institute - to be honest the list is endless. Don’t be too upset if your act previously exists. A lot of acts are out there and at times people do end up with similar ones. Just rework your act until it is unique and then it will stand out from the crowd. Whilst imitation is the supposedly the best form of flattery I don’t think it necessarily applies to the burlesque circuit…

Love, Khandie x

For previous Khandie Kholumns, click here…

Why not check out Khandie’s website and blog?

Enjoy these stunning images, as the stars of the New York Burlesque Festival 2009 go from Strut to Strip! Enjoy each act layer by layer…

Dirty Martini

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Angie Pontani

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Jo ‘Boobs’ Weldon

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[View with PicLens]

Julie Atlas Muz

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[View with PicLens]

Amber Ray

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[View with PicLens]

Trixie Little

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[View with PicLens]

Roxi Dlite

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[View with PicLens]

Anna Fur Laxis

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Kellita

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[View with PicLens]

All images by the fabulous Don Spiro! (www.donspiro.com)

Stay Tuned for more Strut to Strip!

www.thenewyorkburlesquefestival.com

Tatah Dujour and Minnie Tonka Interview the Stars of NYBF 2009 at the Golden Pastie Awards…

Directed and Produced by Marky Pierson (www.markypierson.com)

Golden Pastie Results:

Burlesque performer most likely to appear in Playboy: Angie Pontani

Biggest Kissing Bandit of burlesque: Tigger!

Biggest Hair in burlesque: Darlinda Just Darlinda

Performer with the most luggage / Biggest Schlep in burlesque: Amber Ray

Hottest Mess in burlesque (most likely to lose/forget things, pop pasties etc.): Wild Card Kitty

Performer most likely to end up in Bangkok missing a kidney: Sparkly Devil

Hottest Freshman 2009: Lil’ Miss Lixx

Performer most likely to complete a monopoly, taking over the burlesque scene to become the Donald Trump of burlesque: Angie Pontani

Most Sensual performer: Tied - Kellita and Peekaboo Pointe

Most Scandalous performer: Gravity Plays Favourites

Best Body in burlesque: Dirty Martini

Performer with a positively perfect posterior: Helen Pontani

Most Elegant performer: Amber Ray

Most Classic performer: Dirty Martini

Hottest Cougar 2009: Jo Boobs (Second year running!)

Most creative/innovative performer 2009: Darlinda Just Darlinda

Retired burlesque revue missed the most: Starshine Burlesque

www.thenewyorkburlesquefestival.com

“I am delighted to announce our new show along with a brand new artistic team that not only sees my vision but has the creativity, power and imagination to execute it beyond my wildest dreams…”

Polly Rae

Polly Rae, by William Baker.

In February 2010, Polly Rae and the Hurly Burly Girlys return to the Leicester Square Theatre with a new show, new direction and new heights of glamour and entertainment!

Directed by William Baker, with musical direction from Steve Anderson, the show is set to be a “multi performance extravaganza”…

Critically acclaimed as Creative Director for Kylie Minogue and collaborations with numerous other artists including Britney Spears, Bjork and Jamiroquai; William Baker will focus his gold star standards on the show with original direction, set design and couture outfits.

As a producer, remixer and songwriter, Steve Anderson has worked on records by Kylie Minogue, Take That, Michael Jackson, Britney Spears, Paul McCartney and The Pet Shop Boys. He has most recently completed work on Kylie’s first ever live shows in North America.

We cannot wait to see what Polly and the Girls have in store for us - and we will keep you updated on all the developments and news as it happens!

Miss Polly Rae: The All New Hurly Burly Show

LEICESTER SQUARE THEATRE

Box office: 0844 847 24 75

www.leicestersquaretheatre.com

Tuesday February 23 - Sunday February 28

Nightly at 7.30pm, Sunday at 5.00pm

Tickets: £15.00 - £34.50

Wondering what to do this Saturday? If you can get to London, I recommend supporting an extremely worthwhile cause. The attitudes and prejudice towards mental health issues in the 21st Century are truly appalling, and I know many creative and talented individuals in our community that have battles to fight and stories to tell.

To coincide with World Mental Health Day, and the Time For Change Campaign, Bea DeVile has decided to put on a burlesque show at the Elixir Bar, featuring performers affected by mental health issues, or who feel passionate about the cause.

I spoke to Bea about her plans and hopes, and she is clearly extremely passionate and well informed when it comes to this campaign…

Bea DeVile (by Russ Bell)

Why have you decided to put on this event?

I had been thinking for a while about the relationship that burlesque has with self-image and the alternative it offers to the ideals that you see in the media. Also, many performers I have met had examples of how performing or even attending a workshop has had a positive impact on themselves or people they know.

When I came across the Time To Change campaign, I thought it would be a fantastic opportunity to challenge the common perceptions of people with mental health issues by showcasing some of the performers who have been open about problems that they have experienced in the past.

Get Moving Week in October promotes the benefits of being active for mental well being and the other event taking place in London this Saturday on World Mental Health day is a series of dance workshops in Regents Park. So once people have had a go at some different dance styles, they can come and watch our performance.

Why is this issue, and awareness of it, so vital?

There is still a huge stigma attached to mental illness, despite it being a very common issue - one in four people will experience a problem at some point in their life. And there are still problems with discrimination, with a recent report finding that one third of people surveyed think that people with mental health problems should not have the same rights to a job as everyone else.

Why is this issue especially important to you personally - has it affected your life in some way?

I have always had depression and it has affected my life in different ways. I’ve sometimes avoided talking about it for fear of making friends feel uncomfortable, so it can end up being incredibly isolating - you don’t tend to get the same understanding or sympathy that you would with a physical illness.

Although I would never lie about my medical history, it’s not something I would bring up with employers either, and when I was younger I would quit a job rather than try to explain why I’d not been able to come into work. Companies now are a lot better at offering anonymous support including free counselling through employee assistance programmes, but I’m not sure how understanding a line manager would be if their member of staff rang in sick due to a bout of depression.

What changes do you hope to see in the way mental health is viewed, discussed and addressed?

Celebrities like Stephen Fry being open about their own problems has made a huge difference in the way that people with mental health issues are viewed - bipolar disorder for example is much more understood now. However there are still negative portrayals of people with mental illness in the media, which I think tends to stem from misunderstanding and fear.

One of the aims of the campaign is to get people who have had mental health issues to start talking about them and be more open about their experiences, on the principle that talking about mental health is the best way to confront stereotypes and tackle prejudice.

What is in store for people on Saturday?

There is a fantastic line-up on Saturday from some of my favourite performers who have donated their time to publicise this cause, many of whom have had their lives affected by mental health issues. There’s burlesque from December Charm, Miss Glory Pearl, Duchess Divine, Miss Dolly Rose and Tallulah Tempest. Plus Goodtime Mama Jojo - Jo King will be talking about Time to Change from her own unique perspective. And it’s all hosted by the inimitable Des O’Connor, who I’m sure will be singing a song or two for us.

If nothing else, what is the one thing you want people to take away with them from this event?

The aim is to create an event where people can be entertained by performers with and without mental health problems and try to break down stigma by interaction with different people.

We’re asking people for a donation to Mind as an entrance fee, and also to the take the visual pledge found on the Time to Change Facebook page and make their personal contribution to the campaign to end mental health discrimination.

I also spoke to some of the performers that are entertaining on Saturday, and asked them why they wanted to help the cause…

Des O’Connor

Des O'Connor

“The world of entertainment by its very nature involves sharing the most vulnerable aspects of one’s psyche on stage, whether it be in a raw and honest form or dazzingly decorated with glitter and tassles.

I am sure that the one in four statistic falls much closer to one in three or one in two when one enters the world of cabaret and burlesque, since we are, ultimately, in the peculiar business of trying to find love and self-actualisation in the strangest and most unusual of places. I guess my involvement in the project is my way of saying that we need to talk more openly about mental health issues instead of trying to pretend that they don’t exist. If you had a cold or chicken pox you wouldn’t feel the need to try and keep it secret from your friends, family and employer so why the hell should you have to do so if you’re suffering from depression, an eating disorder or any other form of illness that affects the mind?

Almost every one of my songs deals with some kind of mental health issue or emotional insecurity, so I’m proud to be involved in Saturday’s event and I hope that we can help people who are less up front about saying they’re not well and that they need help and support from the people they love…”

 

December Charm (Miss Rain Photography)

December Charm

“I’m getting involved as it’s so important to me to abolish the myths that surround mental illness. It’s so much more common than many people think and, as someone who has been through it myself, it’s a cause that is extremely close to my heart.”

 

 

 

 

Miss Glory Pearl (by Rita Dobo)

Miss Glory Pearl

“Last year I was diagnosed with Type 2 Bipolar Mood Disorder, a chronic and debilitating condition that explained my history of depression and creative highs in one swoop. Sadly, my employers found it even harder to come to terms with my illness than I did and even when my condition went back into remission, I found myself side-lined, patronised and generally treated differently to my colleagues. Eight months later, I found myself being made redundant.

It took me a long time to come to terms with my diagnosis and realise that I’m still me, still the clever, competent, creative person my friends and family love, but the discrimination I suffered reinforced every negative thought I had about myself and undermined my confidence horribly.

I know, without a shadow of a doubt, that if I had broken a limb or contracted something like shingles, my employers would have treated me entirely differently. Ignorance about mental illness abounds; from those who think you’re just weak and need to pull yourself together, to those who think you’re mentally deficient. This needs to change, and being a part of this show as an open sufferer of Bipolar Mood Disorder, is one way I can make a difference.”

RSVP to this Event on Facebook…

Date: Saturday, 10 October 2009
Time: 15:30 - 18:00
Location: Elixir Bar
Street: 162 Eversholt Street
Town/City: London, United Kingdom

www.time-to-change.org.uk